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THAT  THIS  COPY  OF  “  THE  ETCHED  WORK  OF  WHISTLER  ” 

IS  ONE  OF  AN  EDITION  OF  FOUR  HUNDRED  AND  TWO 
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THE  ETCHED  WORK  OF 

WHISTLER 


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THE  ETCHED  WORK  OF 


WHISTLER 

ILLUSTRATED  BY  REPRODUCTIONS  IN  COLLOTYPE 
OF  THE  DIFFERENT  STATES  OF  THE  PLATES 


COMPILED,  ARRANGED  AND  DESCRIBED  BY 

EDWARD  G.  KENNEDY 


WITH  AN  INTRODUCTION  BY 

ROYAL  CORTISSOZ 


THE  GROLIER  CLUB 
OF  THE  CITY  OF  NEW  YORK 
1910 


Copyright,  1910,  by 
The  Grolier  Club 
OF  THE  City  of  New  York 


RP<;i=’APCH  LIPRARY 
GfTTTY  RCGEARCH  INSTITUTE' 


CONTENTS 


PAGE 

Introduction .  ix 

Notes . xix 

Previous  Catalogues .  xx 

Present  Catalogue . xxii 

Reproductions . xxvi 

Arrangement . xxvii 

The  French  Set,  etc . xxix 

Cancelled  Plates . xxxiv 

Acknowledgments . xxxvi 

Catalogue  .  3 

Appendix . 143 

Index . 147 


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INTRODUCTION 


If  there  is  one  thing  more  than  another  which  makes  Whistler 
attractive  to  the  biographer,  it  is  his  isolation  in  nineteenth-cen¬ 
tury  art.  A  “Life”  of  him  can  be  made  very  full  and  rich ;  but  a 
“Life  and  Times,”  one  of  those  elaborate  studies  in  which  a  man  is 
portrayed  with  constant  reference  to  contemporary  events  and 
personages,  will  probably  never  be  written  around  this  curiously 
detached  figure.  It  is  interesting  to  recall  his  relations  with  this 
or  that  famous  man  or  group  of  men,  but  it  is  even  more  interest¬ 
ing  to  reflect  on  the  manner  in  which  he  nevertheless  went  his  own 
way,  living  his  long  life  in  a  world  created  by  himself.  He  was  a 
loyal  comrade  among  the  Frenchmen  who  were  making  an  artistic 
revolution  half  a  century  ago,  and  fought  shoulder  to  shoulder 
with  them  against  the  smug  edicts  of  constituted  authority,  then 
enthroned  in  the  official  exhibitions  held  in  Paris.  But  there  is 
something  symbolical  about  the  difference  between  the  two  paint¬ 
ings  which  he  and  Manet  sent  to  the  memorable  Salon  des  Refuses 
in  1863.  The  Frenchman  challenged  his  academic  opponents  with 
a  bold  transcript  from  life,  vibrating  with  light  and  air,  the  sensa¬ 
tional  picture  called  “Le  Dejeuner  sur  I’Herbe.”  Whistler,  sympa¬ 
thetic  as  he  was  to  the  impressionistic  movement  then  getting  itself 


IX 


INTRODUCTION 


Started,  at  bottom  had  really  nothing  to  do  with  the  ideas  embodied 
in  that  picture.  He  sent  “La  Femme  Blanche,”  his  first  “Sym¬ 
phony  in  White.”  We  think  of  him  as  part  and  parcel  of  an  or¬ 
ganized  campaign  of  protest,  and  that  conception  of  him  carries 
with  it  the  sense  of  a  man  closely  identified  with  his  time.  To  re¬ 
member  the  painting  in  question,  however,  is  to  be  struck  by  the 
essential  aloofness  it  denotes,  an  aloofness  of  the  very  soul.  First 
and  last  Whistler’s  claim  upon  us  resides  in  the  originality  of  his 
genius. 

It  had  a  fair  start  when  he  began  his  artistic  career.  Born  in 
Lowell,  Massachusetts,  on  July  lo,  1834,  his  childhood  in  New 
England  was  closed  too  soon  for  him  to  have  been  affected  by  any 
external  influences,  and  though  he  received  instruction  from  a 
drawing-master  when  his  parents  carried  him  to  St.  Petersburg, 
this  boyish  experience  gave  no  definite  direction  to  his  gifts.  The 
artistic  souvenirs  of  his  training  at  West  Point  from  1851  to  1854, 
and  those  which  belong  to  his  brief  period  of  service  in  the  United 
States  Coast  Survey  at  Washington,  are  of  value  inasmuch  as  they 
disclose  his  bent,  but  they  leave  the  question  of  his  individuality 
untouched.  It  is  only  when  he  settles  down  in  Paris,  late  in  1855, 
that  criticism  takes  any  account  of  his  surroundings ;  and  then  it 
does  so  only  to  observe  with  a  certain  half-amused  appreciation  his 
sublime  indifference  to  what  was  going  on  about  him.  Of  course 
he  was  nominally  subordinate  to  those  in  authority.  He  had  to  get 
his  resources  into  shape.  Some  one  had  to  teach  him.  He  chose 
Charles  Gleyre,  of  all  painters  in  the  world,  a  follower  of  David. 
One  might  speculate  ingeniously  as  to  whether  it  was  not  his  in¬ 
stinct  for  line  that  unconsciously  drew  him  to  a  type  of  classical 
draughtsmanship,  but  the  truth  is  that  there  would  be  more  in- 


INTRODUCTION 


genuity  than  anything  else  in  the  surmise.  He  came  under  the 
influence  of  Courbet  at  that  time,  and  the  incident  is  of  some  im¬ 
portance  to  the  student  of  his  painting,  but  this,  too,  is  a  subject 
which  can  easily  be  pursued  too  far.  I  prefer  to  lay  stress  upon  his 
singularity,  upon  the  failure  of  any  of  the  forces  then  active  to 
divert  him  from  his  path.  I  like  to  think  of  him  in  his  fastidious 
and  courageous  rejection  of  all  that  was  at  work  to  beguile  him 
from  the  ideal  toward  which  he  was  feeling  his  way.  French  art 
was  like  some  strongly  flowing  and  yet  troubled  stream,  fed  from 
the  most  diverse  springs.  The  intellect  of  Ingres,  the  romantic 
passion  of  Delacroix,  the  lyrism  of  Corot,  the  simple  austerity  of 
Millet,  the  adventurous  pioneering  mood  of  the  Impressionists — 
all  these  elements  in  a  bewilderingly  complex  situation  were  like 
so  many  magnetic  powers,  drawing  to  themselves  the  temperaments 
in  Paris  which  were  seeking  artistic  salvation.  Whistler  may  have 
been  momentarily  distracted.  We  know  that,  like  Degas,  he  was 
for  a  time  beguiled  by  Ingres.  But  this  influence  did  not  go  deep 
with  him,  as  it  went  with  Degas.  I  well  remember  a  talk  with 
him  in  his  later  years,  apropos  of  the  portrait  of  M.  Bertin  in  the 
Louvre.  It  was  plain  that  if  he  had  ever  been  charmed  by  Ingres 
the  spell  had  long  since  faded.  How  could  it  have  been  otherwise  ? 
There  has  always  seemed  to  me  something  very  characteristic  and 
delightful  about  his  intimacy  with  Rossetti.  As  artists  they  were 
completely  unlike.  The  English  Pre-Raphaelite’s  ideas  of  color 
and  tone,  to  say  nothing  of  his  romantic  predilections,  were  im¬ 
measurably  distant  from  the  sort  of  thing  that  was  occupying 
Whistler.  But  they  had  one  point  in  common:  they  loved  to  be 
let  alone. 

What  was  Whistler  driving  at  in  that  ivory  tower  of  his,  the 


XI 


INTRODUCTION 


still  privacy  of  which  he  managed  to  preserve  intact,  for  all  that 
he  was  perpetually  descending  for  purposes  of  combat  and  amuse¬ 
ment  into  the  society  that  moved  around  its  base?  He  gives  us 
one  clue  in  his  oft-quoted  passage  on  the  Thames :  “The  evening 
mist  clothes  the  riverside  with  poetry  as  with  a  veil,  and  the 
poor  buildings  lose  themselves  in  the  dim  sky,  and  the  tall  chim¬ 
neys  become  campanili,  and  the  warehouses  are  palaces  in  the 
night,  and  the  whole  city  hangs  in  the  heavens,  and  fairyland  is 
before  us.”  There,  out  of  his  own  mouth,  he  is  convicted  as  a 
man  possessing  a  certain  poetic  inspiration.  .Only  a  poet  could 
have  had  that  vision  of  the  sleeping  river.  Only  a  poet  could  have 
woven  those  exquisite  patterns  of  color  in  which  he  shows  us  what 
he  saw  from  the  banks  of  the  Thames.  At  the  trial  of  the  suit 
which  he  brought  against  Ruskin  he  was  quite  ready  to  admit,  as 
to  the  picture  that  had  caused  all  the  trouble,  that  “if  it  were 
called  a  view  of  Cremorne  it  would  certainly  bring  about  nothing 
but  disappointment  on  the  part  of  the  beholders.”  He  made  then 
also  a  most  interesting  disclosure  of  the  point  of  view  from  which 
he  had  painted  his  “Nocturne  in  Blue  and  Silver,”  the  one  in  which 
he  had  represented  Battersea  Bridge  by  moonlight.  Baron 
Huddleston  asked  him  if  he  considered  the  picture  a  correct  repre¬ 
sentation  of  the  subject,  and  he  made  this  luminous  reply:  “I  did 
not  intend  it  to  be  a  ‘correct’  portrait  of  the  bridge.  It  is  only  a 
moonlight  scene,  and  the  pier  in  the  centre  of  the  picture  may  not 
be  like  the  piers  at  Battersea  Bridge  as  you  know  them  in  broad 
daylight.  As  to  what  the  picture  represents,  that  depends  on  who 
looks  at  it.  To  some  persons  it  may  represent  all  that  is  intended ; 
to  others  it  may  represent  nothing.  .  .  .  My  whole  scheme  was 
only  to  bring  about  a  certain  harmony  of  color”  The  italics  are 


INTRODUCTION 


mine,  but  the  truth  is  that  the  idea  expressed  in  that  last  sentence 
was  emphasized  by  Whistler  in  practically  everything  that  he  did 
as  a  painter.  He  framed  consummate  harmonies  of  color. 
Nature,  and  sometimes  even  human  nature,  would  occasionally 
creep  in.  He  liked  to  believe  that  if  his  portrait  of  his  mother 
proved  immortal  it  would  survive  simply  as  an  “Arrangement  in 
Gray  and  Black,”  but  as  a  matter  of  fact  no  sensitive  person  be¬ 
holding  that  masterpiece  of  painting  can  turn  from  it  with  emo¬ 
tions  unstirred.  Its  beauty  is  in  part  the  beauty  of  a  truthful 
portrait  of  one  whom  the  painter  could  not,  for  the  life  of  him, 
contemplate  as  a  model,  and  only  a  model.  So  with  his  “Noc¬ 
turnes”  and  other  studies  of  nature.  In  them  he  gets  his  harmony 
of  color,  but  often  he  gets,  too,  an  extraordinarily  penetrating 
sense  of  the  visible  world,  of  sea  and  sky,  of  light  and  atmosphere. 

We  find  him,  then,  as  a  painter,  working  out  his  destiny  by  the 
light  of  an  absolutely  independent  hypothesis.  Alike  in  his  por¬ 
traits  and  in  his  pictures  from  nature  he  devises  works  whose 
beauty  depends  upon  a  highly  original  arrangement  of  color,  this 
beauty  being  in  some  instances  tinged  by  half-involuntary  emotion 
or  strengthened  by  a  closer  and  more  poetic  sympathy  for  natural 
phenomena  than  the  artist  himself  would  have  been  willing  to  con¬ 
fess.  We  are  especially  struck  by  the  high  seriousness,  the  sin¬ 
cerity,  underlying  a  theory  of  art  that  might  seem,  on  the  surface, 
to  have  but  insubstantial  moorings.  Some  of  his  early  critics 
could  not  understand  why  he  called  his  works  “Symphonies,”  “Ar¬ 
rangements,”  “Harmonies,”  or  “Nocturnes,”  and  he  observed 
their  confusion  with  a  satirical  eye.  “I  know,”  he  said,  “that  many 
good  people  think  my  nomenclature  funny  and  myself  ‘eccentric.’ 
Yes,  ‘eccentric’  is  the  adjective  they  find  for  m.e.”  A  good  deal  of 

xiii 


INTRODUCTION 


water  has  gone  under  the  bridges  since  then.  No  one  now  finds 
anything  eccentric  about  the  Whistlerian  ideal — save  when  it  is 
turned  into  a  fearful  and  wonderful  thing  by  his  innumerable 
imitators.  It  is  not  his  nomenclature  that  is  remembered,  but  the 
new  note  that  he  added  to  modern  art,  and  if,  indeed,  there  are  ec¬ 
centricities  associated  with  his  name,  they  are  assigned  to  his  per¬ 
sonality  and  not  to  his  character  as  a  painter.  In  that  character 
he  is  already,  in  his  way,  a  classic. 

I  have  glanced — only  too  briefly — at  his  work  with  the  brush 
because  that  work  throws  upon  every  phase  of  his  artistic  develop¬ 
ment  a  light  that  is  indispensable.  You  have  to  remember  in  the 
consideration  of  his  etchings  the  same  great  fact  that  stands  out 
in  the  history  of  his  paintings,  namely,  that  both  were  produced 
out  of  a  magnificently  disinterested  passion  for  beauty.  In  his 
dual  capacity  Whistler  maintained  a  positively  uncanny  self-con- 
^trol,  never  dreaming  of  trying  to  do  in  his  etchings  what  he  did 
in  his  paintings,  or  vice  versa;  but  that  the  man  who  produced 
the  paintings  could  alone  have  produced  the  etchings,  that  a  single 
spirit  pervades  them  both,  is  a  central  point  constantly  to  be  kept 
in  mind. 

Whistler  was  born  to  be  a  great  master  of  etching.  You  feel 
that  immediately  on  entering  upon  a  study  of  his  work,  and  you 
feel  it  more  and  more  as  you  go  on.  Line  is  his  natural  medium, 
which  he  has  at  the  tips  of  his  fingers,  and  uses  as  easily  as  he 
breathes.  In  his  painted  work  you  sometimes  feel  that  he  must 
have  found  pigment  stubborn.  No  such  suggestion  is  made  by  his 
etchings,  and  this  despite  the  fact,  presently  to  be  dealt  with,  that 
he  would  not  infrequently  worry  over  an  etching  through  “state” 
after  “state.”  That  subject,  as  subject,  did  not  greatly  concern 


xiv 


INTRODUCTION 


him,  we  have  seen  in  looking  at  the  painter  in  him.  It  mattered  no 
more  when  he  took  up  the  needle.  One  sees  him  in  the  days  of  his 
young  manhood,  the  days  of  “La  Mere  Gerard,”  of  “The  Unsafe 
Tenement,”  and  of  “La  Vieille  aux  Loques,”  seizing  his  new  in¬ 
strument  and  wielding  it  not  merely  with  the  skill  that  might  come 
to  almost  any  adroit  hand,  but  with  that  peculiar  authority  which 
spells  an  innate  grasp  upon  the  very  genius  of  an  art.  Neverthe¬ 
less,  before  treating  of  that  sheer  wizardry  of  line  which  was  to 
mark  his  career  as  an  etcher,  it  is  worth  while  to  pause  upon  cer¬ 
tain  plates  of  his  which,  if  they  do  not  invest  him  with  the  inter¬ 
est  of  a  romantic  or  dramatic  designer,  at  any  rate  remind  us  that 
when  he  chose  he  could  sometimes  interpret  purely  human  traits 
with  more  than  technical  address.  Consider,  for  example,  such 
portraits  of  his  as  the  “Drouet,”  the  “Axenfeld,”  or  the  “Finette.” 
His  men  are  drawn  not  only  with  a  powerful  sense  of  form,  but 
with  a  shrewd  instinct  for  character.  As  for  his  women,  he  would 
occasionally  interpret  their  grace  and  allurement  with  a  touch 
dimly  recalling  that  romantic  movement  with  which,  in  fact,  he 
had  no  really  friendly  traffic.  The  “Finette”  is  a  very  subtle 
achievement.  In  the  whole  range  of  modern  art  you  will  not  find 
such  a  Parisian  type  of  the  late  fifties  as  this  more  truthfully  or 
more  interestingly  portrayed.  No  doubt  it  is  the  beauty  of  line 
and  tone  that  makes  the  plate  brilliant.  But  it  is  also  a  wonderful 
evocation  of  things  that  are  past,  of  a  social  period  now  as  dead 
as  Caesar.  Looking  at  this  woman  in  her  voluminous  dress  and  at 
the  intensely  Parisian  chamber  which  makes  her  background, 
catching  through  the  window  by  which  she  stands  a  vague  glimpse 
of  the  great  city,  one  is  swept  back  in  imagination  to  a  glittering 
and  romantic  epoch.  One  does  not  need  to  be  told  that  “Finette” 


INTRODUCTION 


was  a  dancer,  a  denizen  of  Bohemia.  All  the  glamour  of  Bohemia 
is  in  the  plate.  In  delightful  contrast  to  this  mundane  souvenir 
are  his  many  sketches  of  children.  He  was  very  happy  with  such 
models,  having  a  genuine  affection  for  them,  and  finding  a  plea¬ 
sure  in  their  artless  movement  and  many  pretty  ways  which  one 
would  hardly  have  expected  a  man  of  his  temperament  to  seek. 
He  made  children  the  subjects  of  set  portraits,  as  in  the  beautiful 
“Bibi  Lalouette,”  and  more  often  he  lightly  introduced  them,  with 
a  few  swift  lines,  into  a  landscape  or  some  urban  composition. 
Magical  indeed  was  his  gift  for  the  delineation  of  these  little 
images  of  playful  innocence.  His  draughtsmanship  is  never  truer, 
never  more  eloquent,  and,  I  may  add,  never  more  bewitching,  than 
when  it  follows  with  a  kind  of  tender  sympathy  the  lines  of  some 
small  figure,  furbelowed  or  ragged.  Hans  Andersen  himself  was 
no  more  at  home  with  the  spirit  of  childhood  than  was  Whistler. 

Obviously  heart  and  mind  were  engaged,  as  well  as  eye  and  hand, 
when  he  made  a  number,  at  least,  of  his  studies  of  human  crea¬ 
tures.  Yet  I  know  of  only  one  etching  of  his  which  possesses  the 
character  of  a  poignantly  human  document.  This  unique  plate  is 
“The  Miser,”  which  dates  from  the  early  sixties.  Whatever  his 
intention  may  have  been  when  he  drew  the  design,  he  left  it  a 
dramatic  scene,  if  not  a  page  out  of  a  novel.  The  bald  squalor  of 
the  room,  the  personality  of  the  man  in  it  who  allows  us  to  see  his 
back  only,  something  in  the  distribution  of  the  light  and  shade, 
the  atmosphere  of  grim  poverty  enveloping  the  motive,  might  all 
have  emanated  from  the  genius  of  a  Balzac.  To  muse,  however, 
upon  what  Whistler  might  have  done  if  he  had  cultivated  the  vein 
exemplified  in  this  etching,  is  to  fall,  rather  humorously,  upon  the 
conclusion  that  the  subject  did  not  represent,  for  him,  a  vein  at  all. 


XVI 


INTRODUCTION 


He  etched  it,  I  dare  say,  in  the  same  mood  of  calm  observation 
in  which  he  etched  “The  Unsafe  Tenement,”  or,  long  afterwards, 
“The  Traghetto.”  No,  it  was  not  in  drama,  any  more  than  in  the 
homely  issues  of  every-day  life  among  men  and  women,  that  he 
found  his  more  familiar  inspiration.  For  that  he  went  to  the  im¬ 
personal  world  out  of  doors,  to  landscape  and  waterways  and  to 
the  physiognomies  of  old  buildings. 

I  have  spoken  of  his  natural  authority  as  an  etcher  and  of  his 
“wizardry”  of  line.  These  elements  in  his  charm  are,  of  course, 
manifested  in  ever-increasing  degree  as  the  years  pass,  but  their 
presence  is  to  be  noted  from  the  very  start.  The  earlier  etchings 
done  in  France  and  England  may  show  a  certain  dependence  upon 
the  thing  seen,  a  certain  painstaking  realism,  but  in  these  plates, 
as  in  their  more  freely  handled  successors,  the  line,  as  line,  is  as 
elastic  and  individualized  as  it  is  carefully  accurate.  He  is  the 
virtuoso  even  when  he  is  employing  line  for  purposes  of  record 
rather  than  as  a  thread  in  an  artfully  designed  web.  Observe  his 
manipulation  of  the  tangle  of  masts  and  rigging  that  appears  in 
more  than  one  of  his  Thames  plates.  It  is  by  itself  a  source  of  joy 
to  the  connoisseur  of  linear  art.  As  time  went  on,  these  traceries 
of  his  more  and  more  absorbed  him.  The  beauty  of  deep,  warm 
tone,  and  the  play  of  light,  never  ceased  to  interest  him.  You  will 
find:  some  of  his  loveliest  suggestions  of  “color”  in  a  number  of  his 
later  plates.  But  in  all  of  his  “periods,”  whether  in  the  “French 
Set”  of  1858,  the  “Thames  Set”  that  followed  it,  or  the  Venetian 
and  other  groups  which,  including  the  “Jubilee  Naval  Review,” 
round  out  the  large  body  of  his  work,  you  are  forever  coming  back 
to  nothing  more  or  less  than  his  mastery  of  linear  expression. 
The  importance  he  attached  to  the  smallest  touch  of  the  needle 


xvii 


INTRODUCTION 


is  vividly  exposed  by  Mr.  Kennedy’s  series  of  reproductions.  He 
would  carry  a  plate  through  eight  or  nine  “states,”  sometimes 
making  drastic  changes,  but  as  often  contenting  himself  with  the 
suppression  or  addition  of  only  a  few  short  lines.  These  changes 
do  not  convey  the  impression  of  a  workman  insecure  of  himself 
and  “feeling  his  way.”  They  point,  instead,  to  the  exacting  mas¬ 
ter,  only  driven  to  revision  by  the  nature  of  the  processes  involved 
in  the  etcher’s  art. 

It  seems  to  me  to  have  been  inevitable  that  architecture  should 
have  supplied  him  with  so  many  of  his  motives.  Where  else  could 
he  have  found  subjects  so  in  harmony  with  his  special  gifts?  A 
crumbling  monument  may  be  made  to  take  on  a  fairly  tragic  sig¬ 
nificance,  as  Meryon  showed  when  he  drew  some  of  the  buildings 
of  old  Paris,  or  it  may  be  coordinated  with  a  poetic  conception, 
as  in  the  stately  designs  of  Claude.  But  to  Whistler  it  was  just 
a  picturesque  episode,  and,  before  or  after  that,  an  excuse  for  the 
exercise  of  his  art.  You  are  grateful  for  the  truth  in  his  etchings 
and  for  his  pictorial  felicity,  the  fresh  and  characteristic  manner 
in  which  he  manages  all  his  themes.  You  savor  longest  the  flexi¬ 
bility  and  strength  of  his  style,  its  almost  miraculous  fineness,  its 
demonstration  of  the  fact  that  line  is,  in  art,  like  color,  the  equiva¬ 
lent  of  a  habit  of  mind.  All  of  Whistler’s  genius  comes  out  in  his 
etched  line.  Portraits,  landscapes,  street  scenes,  sea-pieces,  and 
architectural  subjects,  they  all  concentrate  our  attention  upon  his 
technical  brilliance  and  originality.  As  they  do  so  they  enforce 
upon  you  the  interdependence  of  technique  and  beauty,  the  interde¬ 
pendence  of  an  artist’s  vision  of  life  and  his  way  of  expressing  it. 

Royal  Cortissoz. 


xviii 


NOTES 


It  is  remarked  by  Schreiber,  in  the  preface  to  his  excellent 
“Manuel  de  la  Gravure  sur  bois  et  sur  metal  au  XV'  siecle,”  that 
few  of  those  who  consult  a  catalogue  ever  pause  to  read  the  notes 
by  which  it  is  introduced.  In  general,  this  view  is  probably  cor¬ 
rect,  and  these  prefatory  notes  are  therefore  made  as  brief  as 
possible.  Yet  the  author  cannot  relinquish  a  task  which  has  inter¬ 
ested  him  so  greatly  for  a  number  of  years,  without  a  few  words 
on  the  origin  of  the  undertaking,  the  difficulties  attendant  upon 
its  execution,  and  the  reasons  for  the  adoption  of  this  or  that 
detail  of  method. 

The  preparation  of  a  catalogue  may  seem  to  be,  indeed  is,  at  the 
best,  a  thankless  undertaking.  It  involves  much  splitting  of  hairs 
and  patient  effort  to  clear  up  many  minute  or  obscure  points,  with 
results  which  are,  often  enough,  disappointingly  meagre.  Some¬ 
times  hours  are  spent  upon  the  recording  of  a  single  “state,”  and 
then  the  result  may  not  be  wholly  satisfactory.  Some  of  the  prob¬ 
lems  raised  are  more  or  less  tantalizing,  puzzling,  and  occasionally 
baffling.  The  late  S.  R.  Koehler,  than  whom  there  has  been  no 
more  thoughtful  or  judicious  connoisseur  of  prints,  once  said  to 
me,  apropos  of  his  catalogue  of  Diirer’s  engravings,  then  in  manu¬ 
script:  “Better  print  what  I  have  written,  for  to-morrow  I  may 
change  my  mind.”  This  was  probably  an  exaggeration,  but  the 


XIX 


NOTES 


remark  well  illustrates  the  perplexity  which  often  overtakes  even 
the  most  experienced  observer.  If  it  applies  where  the  work  of 
an  artist  like  Diirer  is  concerned,  an  artist  so  direct  and  positive  in 
his  use  of  line,  it  touches  even  more  closely  the  case  of  one  dealing 
with  Whistler,  who  employed  lines  of  cobweb  or  fairy  texture, 
easily  worn  away  by  the  passage  of  the  plate  a  few  times  through 
the  press.  In  occasionally  replacing  these  lines  by  others,  he  left 
us  to  puzzle  out  the  question  as  to  the  priority  of  one  touch  or  an¬ 
other  in  the  design.  On  the  other  hand,  he  gave  an  additional 
stimulus  to  the  cataloguer,  and  invested  his  task  with  a  curious 
fascination.  As  some  one  has  said,  the  inspiration  of  his  genius 
lightens  labor. 

Several  catalogues  of  his  etchings  have  been  made.  The  first 
was  prepared  by  Ralph  Thomas,  ‘‘A  Catalogue  of  the  Etchings 
and  Dry-points  of  James  Abbott  McNeill  Whistler.  London: 
Privately  printed  by  John  Russell  Smith,  36,  Soho  Square,  1874.” 
An  etching  by  Percy  Thomas  from  a  well-known  painting  of 
Whistler  by  himself,  in  working-clothes  and  with  paint-brushes  in 
his  left  hand,  serves  as  frontispiece.  The  catalogue  enumerates 
eighty-five  subjects,  five  of  them  without  titles  and  several  others 
with  titles  vaguely  determined  or  quite  erroneous.  It  is  a  list  of 
subjects  only,  but  slight  attempt  at  the  description  of  states  being 
made,  and  in  respect  to  chronology  the  arrangement  is  rather  elas¬ 
tic.  Fifty  copies  were  printed,  “on  one  side  of  the  paper,  for  the 
convenience  of  collectors.” 

In  1886  A.  W.  Thibaudeau,  of  London,  published  “Whistler’s 
Etchings:  a  Study  and  a  Catalogue,”  by  Frederick  Wedmore.  It 
describes  two  hundred  and  fourteen  plates,  the  arrangement  of 
which  is  fairly  chronological.  An  edition  of  one  hundred  and 


XX 


NOTES 


twenty-nine  copies  was  issued.  Between  1886  and  1899  Whistler 
was  active  with  the  needle,  and  therefore,  to  satisfy  the  increasing 
number  of  collectors  of  his  etchings,  Messrs.  Colnaghi  and  Com¬ 
pany,  of  London,  issued  a  second  edition  of  the  work  (printing  one 
hundred  and  thirty-five  copies),  including  fifty-four  additional 
subjects.  As  Mr.  Wedmore  had  still  either  overlooked  or  ignored 
certain  plates,  I  deemed  it  judicious  to  extend  the  record,  and  pub¬ 
lished  in  1902,  with  the  imprint  of  H.  Wunderlich  and  Company, 
of  New  York,  a  “Catalogue  of  Etchings  by  J.  McN.  Whistler,  Com¬ 
piled  by  an  Amateur,  Supplementary  to  that  Compiled  by  F.  Wed¬ 
more.”  This  was  hastily  arranged,  but  described  nearly  one 
hundred  subjects  not  previously  catalogued,  bringing  the  number 
up  to  three  hundred  and  sixty-seven.  Several  errors  were  made, 
however,  owing  to  Mr.  Wedmore’s  misleading  titles  or  vague 
descriptions.  Numbers  278,  279,  300,  and  363  are  Numbers  226, 
225,  128,  and  223,  respectively,  of  Wedmore,  and  Number  333  is 
described  again  under  Number  351,  an  error  of  mine.  No  other 
catalogue  has  been  issued  to  the  public  since  then,  but  in  the  ex¬ 
hibition  made  by  the  Grolier  Club,  in  1904,  six  hundred  and 
twenty-eight  impressions  were  shown,  including  variations  of 
three  hundred  and  ninety-six  subjects,  and  in  the  catalogue  thirty- 
four  subjects  were  recorded  which  had  not  been  mentioned  by 
Wedmore  or  in  the  supplement  to  his  book.  It  should  be  added 
that  many  new  “states”  were  then  discovered  and  described,  and 
that  in  view  of  this  fact,  as  well  as  with  reference  to  the  great 
number  of  prints  displayed  and  their  high  quality,  the  exhibition 
was  remarkable ;  it  was  the  most  complete  and  important  that  had 
taken  place. 

In  1909  the  Caxton  Club  of  Chicago  published  “A  Descriptive 


XXI 


NOTES 


Catalogue  of  the  Etchings  and  Dry-points  of  James  Abbott  Mc¬ 
Neill  Whistler,  by  Howard  Mansfield.”  This  almost  exhausts  the 
number  of  plates  etched  by  the  artist.  Four  hundred  and  forty  are 
described,  as  well  as  five  additional  pieces  which  are  dealt  with  in 
an  appendix.  Mr.  Mansfield  has  also  gathered  a  great  deal  of 
valuable  information  regarding  exhibitions  not  only  of  Whistler’s 
etchings  but  of  his  paintings. 

The  idea  of  making  a  catalogue  of  Whistler’s  etchings  with 
reproductions  of  them  in  facsimile  had  been  in  my  mind  for  many 
years.  The  great  work  of  Rovinski  on  Rembrandt,  published  in 
St.  Petersburg  in  1890,  which  was  an  entirely  new  departure  in 
catalogue-making,  had  strongly  impressed  me,  and  a  similar  pub¬ 
lication  devoted  to  the  American  master  seemed  to  me  both  desir¬ 
able  and  practicable.  I  often  talked  the  matter  over  with  my 
friend,  the  late  E.  B.  Holden,  a  discerning  collector  of  books  and 
prints,  who  was  one  of  the  most  effective  members  of  the  Grolier 
Club  and  later,  in  1906,  became  its  president.  He  was  most  sym¬ 
pathetic  to  the  idea,  and  maintained  that  the  work  should  be  pub¬ 
lished  by  the  Grolier  Club,  even  though  it  was  somewhat  outside 
the  character  of  that  club’s  publications.  We  thought  that  pos¬ 
sibly  six,  or  at  most  seven,  hundred  reproductions  would  be  re¬ 
quired,  which  would  include  all  the  subjects  etched  by  Whistler, 
with  all  their  variations  or  different  states.  Had  it  occurred  to  us 
that  more  than  a  thousand  reproductions  would  be  required,  our 
zeal  might,  perhaps,  have  been  permanently  chilled.  As  it  was, 
we  saw  that  the  catalogue  would  cost  a  considerable  sum  and 
would  take  a  number  of  years  to  complete,  and  we  felt  that  the 
Grolier  Club  was  hardly  in  a  position  to  undertake  its  publication. 
So  it  lay  dormant,  more  or  less,  for  some  time,  but  in  1901  I  ac- 

XX  ii 


NOTES 


quired  the  remarkable  collection  of  Whistler’s  etchings  and  dry- 
points  belonging  to  Mr.  B.  B.  Macgeorge  of  Glasgow,  one  contain¬ 
ing  many  rarities,  and  I  decided  that  before  it  was  dispersed  the 
prints  in  it  should  be  reproduced.  Forthwith  all  the  etchings  were 
photographed,  and,  in  a  way,  the  catalogue  was  begun. 

Up  to  this  time  I  had  not  mentioned  the  matter  to  Whistler,  for 
I  had  really  no  practical  proposals  to  make  to  him.  But  in  the 
spring  of  1901,  during  one  of  my  visits  to  his  studio  in  Fitzroy 
Street,  London,  I  broached  the  subject  of  a  catalogue  of  his  etch¬ 
ings  and  dry-points  illustrated  by  reproductions  of  them  in  fac¬ 
simile.  His  response  was  emphatically  unfavorable.  “Certainly 
not,”  said  he.  I  expressed  my  surprise,  and  asked,  “What  objec¬ 
tion  can  you  possibly  have  to  it?”  He  replied  that  a  man  from 
America  had  been  introduced  to  the  studio  and  had  made  a  similar 
proposition,  but  that  he  instantly  rejected  it.  He  explained,  after 
further  conversation,  that  the  proposed  illustrations  were  to  be 
quite  small — six  or  eight  or  more  on  a  page — and  he  objected  to 
being  commemorated  in  what  he  called  a  “commercial  catalogue.” 
He  may  have  misunderstood  his  visitor,  but,  at  any  rate,  that  was 
the  impression  he  had  received.  He  also  said  that  such  a  publica¬ 
tion  would  interfere  with  “the  great  work.”  This,  I  may  note  in 
passing,  was  a  project  discussed  the  year  before,  having  for  its 
object  the  reproduction  of  all  his  works  of  every  character,  paint¬ 
ings  in  oil  and  water-colors,  pastels,  drawings,  etchings,  and  litho¬ 
graphs.  Perhaps  “the  great  work”  was  too  cumbersome  or  diffi¬ 
cult  of  realization.  At  all  events,  it  was  apparently  abandoned, 
for  I  never  heard  of  it  again. 

I  explained  to  Whistler  that  the  catalogue  which  I  proposed  to 
make,  if  made  at  all,  would  be  for  a  club  of  three  hundred  and 

xxiii 


NOTES 


seventy-five  members,  and  that  an  edition  of  only  four  hundred 
copies  would  be  issued.  I  added  that  it  would  not  be  sold  to  the 
public,  but  only  by  subscription  to  members  of  the  club,  and  that 
it  could  not  interfere  with  ‘‘the  great  work”  or  with  any  other 
publication  that  he  might  have  in  view.  “However,”  I  said,  “wait 
until  this  evening,  after  dinner,  and  I  will  show  you  exactly  what 
I  propose  to  do ;  then  if  you  are  not  pleased  I  shall  be  surprised.” 
I  borrowed  Rovinski’s  “Rembrandt”  from  a  friend,  and  as  I 
happened  at  the  moment  to  have  in  my  possession  fine  impres¬ 
sions  of  “Clement  de  Jonghe,”  “Sylvius,”  “Lutma,”  and  several 
other  subjects  by  the  Dutch  master,  I  was  enabled  to  show  Whis¬ 
tler  the  originals  and  the  reproductions  of  them  side  by  side,  and 
thereby  give  him  an  exact  idea  of  what  I  wished  to  do.  He  had 
a  profound  admiration  for  the  work  of  Rembrandt,  and  he  was 
much  impressed  by  Rovinski’s  catalogue.  “This  is  quite  another 
kind  of  thing,”  he  said,  “this  is  very  swell,”  and  went  on  to  wonder 
how  I  should  ever  be  able  to  carry  out  a  similar  undertaking.  I 
pointed  out  that  it  would  take  time  and  patience,  but  that  a  descrip¬ 
tive  catalogue  could  never  be  so  satisfactory  as  one  in  which  all  the 
variations  of  his  work  could  be  seen  together,  and  that  I  was  re¬ 
solved,  with  his  approval,  to  see  the  thing  through.  He  cheerfully 
consented,  and  we  talked  it  over  until  it  was  time  to  go  to  bed.  I 
cannot  refrain  from  recalling  here  the  intense  interest  that  Whis¬ 
tler  displayed  as  we  examined  the  portraits  I  had  brought  with  me. 
He  thought  the  “Clement  de  Jonghe”  was  quite  extraordinary  and 
the  “Sylvius”  very  fine.  The  “Burgomaster  Six,”  on  the  con¬ 
trary,  did  not  move  him,  though  he  admitted  that  it  was  an  un¬ 
surpassed  feat  of  technique.  He  seemed  to  forget  all  about  his 


XXIV 


NOTES 


own  work  in  contemplating  that  of  “the  inspired  Dutchman.” 
Beneath  the  “Clement  de  Jonghe”  he  wrote  the  following  tribute: 

“Without  flaw!  Beautiful  as  a  Greek  marble  or  a  canvas  by  Tintoret. 
A  masterpiece  in  all  its  elements,  beyond  which  there  is  nothing!” 

After  a  long  illness  Whistler  died  in  1903.  Since  the  conversa¬ 
tion  mentioned  above,  the  matter  of  the  catalogue  had  not  been  re¬ 
vived.  He  was  more  or  less  ill  and  was  engrossed  in  other  matters, 
and,  besides,  the  Grolier  Club  had  not  authorized  the  publication. 
It  did  so  in  1904,  and  the  work  slowly  began  to  take  shape.  In  the 
meantime  I  had  been  steadily  studying  the  subject,  and  thence¬ 
forth  my  efforts  to  find  rare  Whistlers  took  me  far  and  wide. 
During  my  annual  visits  to  Europe  all  the  important  public 
and  private  collections  of  his  etchings  in  England  and  Scot¬ 
land,  in  Germany  and  in  Paris,  were  examined,  as  well  as  those 
which  were  not  so  extensive  in  scope  but  contained  impressions  of 
interest  from  their  quality  or  rarity.  Journeys  were  sometimes 
made  to  remote  places  in  order  that  I  might  see  a  group  of  two  or 
three  impressions  or  even  single  examples.  Sometimes  these  ven¬ 
tures  were  successful,  but  more  often  they  proved  unprofitable. 
Unfortunately,  great  public  institutions  in  England,  like  the  British 
Museum  and  the  South  Kensington  Museum,  have  comparatively 
few  examples  of  Whistler’s  etched  work — the  British  Museum 
possesses  only  one  hundred  and  twenty  (several  of  them  rare)  — 
but  in  Great  Britain  I  found  much  valuable  material.  So,  too,  in 
America,  the  field  proved  rich.  Almost  all  of  the  collectors  gave 
me  every  facility  for  exploring  their  portfolios,  and  the  authori¬ 
ties  in  charge  of  the  remarkable  collection  left  by  the  late  Samuel 


XXV 


NOTES 


P.  Avery  to  the  Lenox  Library  were  most  obliging.  From  the 
dealers  in  London  and  New  York  I  received  helpful  assistance. 
Wherever  I  sought  a  print,  I  carried  with  me  such  reproduc¬ 
tions  of  it  as  I  had  already  had  made  from  other  impressions,  so 
that  the  identification  of  variations  was  facilitated. 

In  respect  to  the  reproductions,  I  had  some  difficulty  in  fixing 
upon  a  satisfactory  process.  My  first  experiments  with  the  prints 
in  the  Macgeorge  collection  had  not  produced  just  what  I  wanted, 
but  finally  I  found  in  the  photogelatine  process  one  which  gave 
excellent  results.  By  it  a  photographic  facsimile  of  the  original 
print  was  obtained,  a  facsimile  which  cannot  be  retouched.  There 
is  here,  perhaps,  a  certain  disadvantage,  for  if  there  are  any  im¬ 
perfections  in  the  original,  or  in  the  negative  itself,  they  will  ap¬ 
pear  on  the  gelatine  print  from  which  the  reproduction  is  printed, 
and  they  cannot  be  removed.  For  example,  if  a  print  cannot  be 
taken  to  the  studio  to  be  photographed  in  a  top  light,  but  has  to  be 
done  somewhere  in  a  side  light,  and  there  are  wrinkles  or  “cockles” 
in  the  paper  that  cast  shadows,  these  are  exaggerated  in  the  re¬ 
production.  Fortunately  these  little  dark  ridges  do  not,  in  any  of 
the  reproductions  in  which  they  appear,  obscure  that  part  of  the 
work  which  it  is  desirable  should  be  clear  for  purposes  of  compari¬ 
son.  The  reproductions  are  of  the  same  dimensions  as  the  orig¬ 
inals  in  all  cases,  save  one  state  of  the  “Pierrot,”  which  is  enlarged. 
In  some  instances,  where  the  only  changes  in  a  plate  are  those 
affecting  some  one  part  of  the  design,  that  part  alone  is  reproduced 
in  the  state  or  states  disclosing  modifications.  It  is  marked  “De¬ 
tail.”  When  the  difference  involved  in  a  state  consists  in  no  more 
than  the  addition  or  removal  of  the  date,  or  the  name  of  the  artist 
or  printer,  the  illustration  of  such  difference  in  a  special  reproduc- 


XXVI 


NOTES 


tion  has  not  been  considered  necessary,  but  attention  is  called  to 
the  point  in  every  instance,  the  vacancy  being  marked  “See  text.” 
The  same  reference  is  made  when  a  subject  has  not  been  avail¬ 
able  for  reproduction,  for  one  reason  or  another,  but  such  subjects 
are  very  few  in  number.  Since  the  scope  of  this  catalogue  in¬ 
cludes  all  the  etched  work  of  Whistler,  a  number  of  his  cancelled 
plates  are  reproduced.  They  form,  after  all,  part  of  the  record  of 
his  work. 

The  etchings  are  arranged  chronologically.  While  it  is  impos¬ 
sible  to  say  exactly  which  etching  in  a  given  series  was  made  or 
finished  first,  the  group  to  which  it  belongs  will  be  found  in  its 
proper  place.  Much  assistance  in  the  placing  of  undated  plates 
was  derived  from  the  memoranda  made  by  the  artist  himself,  or 
by  the  late  Mr.  Avery,  on  the  etchings  collected  by  the  latter  which 
are  now  in  the  Lenox  Library.  Whistler  dated  his  plates  only  in¬ 
termittently  in  the  sixties,  and  he  abandoned  the  practice  alto¬ 
gether  by  1870.  In  the  placing  of  rare  or  partly  completed  plates 
the  costume  worn  by  the  figure  has  in  one  or  two  instances  sup¬ 
plied  a  little  aid,  but  the  main  reliance  has  been  upon  the  intrinsic 
character  of  the  work.  The  titles  given  are  generally  those  which 
have  been  made  familiar  in  previous  catalogues.  Changes  have 
not  been  made  save  for  what  seemed  good  reasons,  and  these 
changes  are  noted  in  the  Index.  The  prints  have  been  carefully 
measured,  and,  whenever  possible,  from  more  than  one  impression 
of  the  same  subject.  Sometimes  difference  in  sizes  have  been 
quite  marked  between  impressions  on  Japan  paper  and  those  on 
Dutch  paper,  the  former  material,  with  its  more  flexible  fibre, 
usually  causing  a  slight  increase  in  the  dimensions  of  the  etching. 
But  differences  in  size  are  also  discovered  amongst  impressions 


XXV 11 


NOTES 


printed  on  the  same  paper.  They  are  caused  by  pressure  of  the 
press,  or  too  much  or  too  little  dampening  of  the  paper  before 
printing. 

Whistler,  beginning  with  the  Venetian  series,  trimmed  his  im¬ 
pressions  to  the  plate-mark,  leaving  only  a  small  rectangular 
bit  of  paper  for  the  famous  butterfly.  Sometimes  the  etched  part 
of  a  print  was  inadvertently  cut  into,  and  for  this  reason  the 
figures  for  all  his  later  work  are  given  in  this  catalogue  from  im¬ 
pressions  with  margins  uncut,  or  at  least  with  the  plate-mark 
showing. 

In  describing  the  variations  of  the  prints  which  exist  in  more 
than  one  state,  care  has  been  taken  to  avoid  the  confusion  of  rich¬ 
ness  or  fullness  of  printing — of  which  there  is  so  much  in  Whis¬ 
tler’s  Venetian  and  some  later  plates — with  additional  work  or 
erasures.  While,  with  the  illustrations  before  the  reader,  it  is  not 
necessary  to  be  microscopic  in  describing  the  variations  between 
different  states,  in  nearly  all  cases  the  descriptions  will  be  found 
sufficiently  precise,  and  full  enough  practically  to  stand  by  them¬ 
selves. 

While  no  effort  has  been  spared  to  make  thorough  researches, 
it  is  possible  that  variations  in  “states,”  not  recorded  here,  may 
be  discovered  hereafter.  Rembrandt  has  been  dead  for  almost 
two  centuries  and  a  half,  and  the  catalogues  of  his  etched  work 
are  numerous,  yet  at  rare  intervals  an  undescribed  state  of  some 
one  of  his  plates  comes  to  light. 


As  a  matter  of  record  it  may  be  noted  that  but  few  of  Whistler’s 
etchings  were  issued  in  sets. 

xxviii 


NOTES 


The  first,  known  as  “The  French  Set,”  and  sometimes  erro¬ 
neously  called  “The  Brittany  Set,”  was  published  by  the  enterpris¬ 
ing  artist  himself,  and  carried  on  its  wrapper  No.  25  of  this 
catalogue.  This  plate  was  also  printed,  uniformly  with  the  other 
subjects,  on  a  straw-colored  Chinese  or  India  paper  mounted 
solidly  on  thin  plate-paper,  and  used  as  a  frontispiece.  A  repro¬ 
duction  of  the  list  of  titles  used  in  the  set  may  be  found,  in  fac¬ 
simile,  immediately  before  No.  i  in  the  first  portfolio. 

There  is  also  a  reproduction  of  the  list  of  titles  to  the  Thames 
Series  on  the  same  page.  This  set  was  published  in  1871,  though 
a  number  of  the  plates  in  it  were  made  ten  years  previously. 

In  1879,  impressions  from  fifty-seven  cancelled  plates  were 
bound  together  in  one  volume  and  published,  without  titles,  by 
The  Fine  Art  Society.  These  prints  are  mere  skeletons,  roughly 
printed,  and  but  faintly  indicate  the  beauty  of  the  subjects. 

Of  eleven  of  these  compositions  no  impressions  are  known  to 
exist  previous  to  the  cancellation  of  the  plates,  so  that  the  publi¬ 
cation  is  of  special  interest  on  that  account  alone. 

In  1880  there  was  published : 

VENICE 

WHISTLER 

TWELVE  ETCHINGS 

THE  FINE  ART  SOCIETY,  I48  NEW  BOND  STREET,  LONDON 

This  is  known  generally  as  “The  First  Venice  Set,”  and  was 


XXIX 


NOTES 


announced  to  the  public,  previous  to  publication,  by  a  printed 
circular : 

MR.  whistler’s 

ETCHINGS  OF  VENICE 

THE  FINE  ART  SOCIETY 

148  NEW  BOND  STREET 

LIST  OF  ETCHINGS 

1  THE  LITTLE  VENICE 

2  THE  TWO  DOORWAYS 

3  THE  BEGGARS 

4  NOCTURNE 

5  THE  DOORWAY 

6  THE  RIVA 

7  THE  BRIDGE 

8  THE  LITTLE  LAGOON 

9  THE  PALACES 

10  THE  VENETIAN  MAST 

11  THE  TRAGHETTO 

12  THE  PIAZZETTA 

A  LIMITED  NUMBER  OF  IMPRESSIONS  OF  THESE  ETCHINGS  WILL 
BE  PRINTED  BY  MR.  WHISTLER 
THE  PRICE  MAY  BE  OBTAINED  ON  APPLICATION 

“The  Little  Mast”  was  substituted  for  “The  Bridge”  in  the  set, 
as  published. 

Messrs.  Dowdeswell  and  Dowdeswells  in  1886  published  a  set 
known  as  “The  Twenty-six  Etchings,”  which  was  announced  as 
follows : 


XXX 


NOTES 


A  SET  OF  TWENTY-SIX  ETCHINGS 
BY 

JAMES  A.  McN.  WHISTLER. 


MESSRS.  DOWDESWELL  HAVE  THE  HONOUR  TO  ANNOUNCE  THE  PUB¬ 
LICATION  OF  A  SET  OF  TWENTY-SIX  IMPORTANT  ETCH¬ 
INGS  BY  MR.  WHISTLER. 


TWENTY-ONE  OF  THE  PLATES  WERE  ETCHED  IN  VENICE,  THE  RE¬ 
MAINING  FIVE  SUBJECTS  BEING  ENGLISH. 

THIRTY  SETS  ONLY  WILL  BE  PRINTED.  EVERY  IMPRESSION  WILL 
BEAR  MR.  whistler’s  AUTOGRAPH,  AND  WILL  BE  MOUNTED  ON 
BOARD,  AND  ISSUED  IN  A  PORTFOLIO  SPECIALLY  DESIGNED  BY  THE 
ETCHER,  WHO  HAS  ALSO  WRITTEN  A  SHORT  RESUME  OF  THE  PRIN¬ 
CIPLES  HELD  BY  HIM  IN  THIS  MATTER. 

THE  PRICE  OF  THE  SET  WILL  BE  FIFTY  GUINEAS. 

THE  FOLLOWING  IS  A  LIST  OF  THE  SUBJECTS! 


*DOORWAY  AND  VINE 
WHEELWRIGHT 
*SAN  BIAGIO 
*BEAD-STRINGERS 
TURKEYS 
FRUIT  STALI. 

*SAN  GIORGIO 
*NOCTURNE-PALACES 
LONG  LAGOON 
TEMPLE 
*THE  BRIDGE 
*UPRIGHT  VENICE 
LITTLE  COURT 


LOBSTER  POTS 
*RIVA,  NO.  2 
DRURY  LANE 
*THE  BALCONY 
FISHING  BOAT 
*PONTE  PIOVAN 
*GARDEN 
*THE  RIALTO 
*LONG  VENICE 
*FURNACE-NOCTURNE 
*QUIET  CANAL 
LA  SALUTE-DAWN 
LAGOON -NOON 


XXXI 


NOTES 


OF  THOSE  MARKED*,  TWELVE  EXTRA  IMPRESSIONS  WILL  BE 
TAKEN  AND  SOLD  SEPARATELY. 

THE  PLATES  WILL  THEN  BE  DESTROYED,  AND  IMPRESSIONS  TAKEN 
TO  SHOW  THEIR  CONDITION. 


LONDON  : 

DOWDESWELL  &  DOWDESWELLS, 

PUBLISHERS,  ETC. 

133,  NEW  BOND  STREET,  W. 

1886 

The  “resume”  mentioned  was  issued  with  the  set,  as  follows : 

PROPOSITIONS. 

I.  That  in  Art,  it  is  criminal  to  go  beyond  the  means  used  in  its 
exercise. 

II.  That  the  space  to  be  covered  should  always  be  in  proper  rela¬ 
tion  to  the  means  used  for  covering  it. 

III.  That  in  etching,  the  means  used,  or  instrument  employed, 
being  the  finest  possible  point,  the  space  to  be  covered  should  be 
small  in  proportion. 

IV.  That  all  attempts  to  overstep  the  limits  insisted  upon  by  such 
proportion,  are  inartistic  thoroughly,  and  tend  to  reveal  the  paucity 
of  the  means  used,  instead  of  concealing  the  same,  as  required  by 
Art  in  its  refinement. 

V.  That  the  huge  plate,  therefore,  is  an  offence — its  undertaking 
an  unbecoming  display  of  determination  and  ignorance — its  ac¬ 
complishment  a  triumph  of  unthinking  earnestness  and  uncon¬ 
trolled  energy — endowments  of  the  “duffer.” 

xxxii 


NOTES 


VI.  That  the  custom  of  “Remarque”  emanates  from  the  amateur, 
and  reflects  his  foolish  facility  beyond  the  border  of  his  picture, 
thus  testifying  to  his  unscientific  sense  of  its  dignity. 

VII.  That  it  is  odious. 

VIII.  That,  indeed,  there  should  be  no  margin  on  the  proof  to 
receive  such  “Remarque.” 

IX.  That  the  habit  of  margin,  again,  dates  from  the  outsider, 
and  continues  with  the  collector  in  his  unreasoning  connoisseur- 
ship — taking  curious  pleasure  in  the  quantity  of  paper. 

X.  That  the  picture  ending  where  the  frame  begins,  and,  in  the 
case  of  the  etching,  the  white  mount,  being  inevitably,  because  of 
its  colour,  the  frame,  the  picture  thus  extends  itself  irrelevantly 
through  the  margin  to  the  mount. 

XI.  That  wit  of  this  kind  should  leave  six  inches  of  raw  canvas 
between  the  painting  and  its  gold  frame,  to  delight  the  purchaser 
with  the  quality  of  the  cloth. 

The  Naval  Review  plates  were  not  issued  distinctively  as  a  set, 
nor  were  the  Amsterdam  subjects,  Whistler  possibly  preferring  to 
dispose  of  them  himself,  individually  or  in  groups  as  occasion 
required. 


xxxiii 


NOTES 


It  is,  perhaps,  of  interest  to  note  here,  the  plates  which  are  posi¬ 
tively  known  to  have  been  cancelled  or  destroyed.  Their  numbers 
in  this  catalogue  are : 


13 

65 

126 

182 

213 

17 

66 

127 

183 

214 

19 

68 

128 

184 

215 

21 

71 

129 

185 

216 

22 

74 

130 

186 

231 

23 

75 

I3I 

187 

233 

24 

76 

132 

188 

234 

27 

77 

134 

189 

235 

30 

78 

137 

190 

236 

34 

79 

138 

I9I 

237 

38 

81 

I4I 

192 

246 

39 

82 

142 

193 

247 

40 

83 

144 

194 

252 

41 

84 

146 

195 

253 

42 

90 

148 

196 

254 

43 

93 

I5I 

197 

262 

44 

94 

152 

198 

283 

45 

95 

153 

199 

285 

46 

97 

154 

200 

305 

47 

100 

163 

201 

308 

48 

lOI 

165 

202 

309 

49 

102 

166 

203 

312 

50 

103 

167 

204 

333 

51 

104 

168 

205 

340 

52 

106 

170 

206 

343 

54 

107 

I7I 

207 

411 

55 

109 

172 

208 

415 

58 

no 

175 

209 

60 

III 

176 

210 

61 

II6 

177 

2II 

64 

124 

178 

212 

xxxiv 


NOTES 


There  are  also  a  number  of  plates,  the  cancellation  or  destruction 
of  which  cannot  be  affirmed  with  certainty.  Impressions  from 
them  have  always  been  scarce,  so  it  may  be  fairly  assumed  that 
they  have  passed  out  of  existence.  Their  numbers  are : 


2 

35 

87 

121 

158 

3 

36 

88 

122 

159 

4 

37 

89 

123 

160 

5 

53 

91 

125 

161 

6 

56 

96 

133 

162 

7 

57 

99 

135 

164 

8 

59 

105 

136 

173 

12 

62 

108 

139 

174 

14 

63 

112 

140 

179 

25 

67 

113 

143 

227 

26 

69 

1 14 

145 

228 

28 

72 

115 

147 

229 

29 

73 

117 

149 

230 

31 

80 

118 

155 

232 

32 

85 

119 

156 

239 

33 

86 

120 

157 

App.  II 

The  names  of  the  owners  of  prints  photographed  several  years 
ago  are,  in  some  cases,  still  retained  though  their  collections  may 
have  been  dispersed.  Not  now  knowing  the  owners  of  many  of  the 
subjects,  the  name  of  the  original  possessor  is  allowed  to  remain 
as  a  matter  of  record.  Thus  the  collections  of  Mr.  B.  B.  Mac- 
george  and  the  late  Mr.  James  Cox-Cox  of  Scotland,  the  late 
W.  S.  Carter  of  Brooklyn,  Mr.  Mortimer  Menpes,  Mr.  H.  S. 
Theobald,  and  the  late  Sir  John  Day  of  London,  as  well  as  the 
Royal  Collection  from  Windsor  Castle,  have  all  been  sold  and  dis¬ 
persed  since  this  catalogue  was  commenced. 


XXXV 


NOTES 


Several  collections  in  New  York,  not  of  so  much  importance 
numerically  as  those  mentioned,  but  of  excellent  quality,  have 
been  disposed  of  at  private  sale,  and  afterwards  dispersed. 

It  is  a  pleasure  to  express  to  the  amateurs  or  collectors  my 
appreciation  of  their  courtesy  in  allowing  me  to  examine  and  also 
to  reproduce  such  of  the  etchings  in  their  possession  as  were 
required.  Their  names  are  herewith  appended:  Miss  Cora 
Barnes,  Mrs.  H.  K.  Bartow,  Mrs.  George  T.  Bliss,  Mrs.  Robert 
Bliss,  Mrs.  W.  B.  Cutting,  Mrs.  H.  O.  Havemeyer,  Mrs.  Miles 
Hemenway,  Mrs.  E.  B.  Holden,  Miss  A.  B.  Jennings,  Mrs.  H.  K. 
Knapp,  Miss  Faith  Moore,  Mrs.  L.  M.  Touzalin,  and  Miss  L. 
Veltin,  the  late  Mr.  O.  H.  Bacher,  Mr.  H.  H.  Benedict,  Mr.  Theo¬ 
dore  De  Witt,  Mr.  H.  B.  Dick,  Mr.  W.  B.  Dickerman,  Mr.  W.  B. 
O.  Field,  Mr.  R.  M.  Hoe,  Mr.  F.  Keppel,  Mr.  E.  L.  Knoedler, 
Mr.  G.  W.  Kraushaar,  Mr.  H.  B.  Livingston,  Mr.  F.  G.  Lloyd, 
Mr.  P.  Lorillard,  Mr.  H.  Mansfield,  Dr.  H.  McN.  Painter,  Mr. 
A.  W.  Scholle,  Mr.  George  W.  Vanderbilt,  Mr.  J.  Alden  Weir, 
Messrs.  H.  Wunderlich  &  Co.,  and  the  authorities  of  the  Lenox 
Library,  of  New  York;  Mr.  F.  L.  Babbott,  the  late  Mr.  W.  S. 
Carter,  and  Mr.  H.  L.  Quick,  of  Brooklyn,  N.  Y. ;  Mr.  Harts- 
horne,  of  Highlands,  N.  J. ;  Mr.  J.  S.  Dutcher,  of  Watertown, 
Conn. ;  Mr.  J.  P.  Elton,  of  Waterbury,  Conn. ;  Mr.  Harris  Whitte- 
more,  of  Naugatuck,  Conn.;  Mrs.  O.  H.  Alford,  of  Brookline, 
Mass.;  Mr.  F.  Bullard,  Mr.  W.  H.  Bustin,  Jr.,  Mr.  T.  Jefferson 
Coolidge,  Jr.,  Mr.  W.  V.  Kellen,  Mr.  F.  G.  Macomber,  and  Mrs. 
Bayard  Thayer,  of  Boston,  Mass.;  Mr.  A.  J.  Parsons,  of  Wash¬ 
ington,  D.  C. ;  Mr.  John  Caldwell,  of  Pittsburgh,  Pa. ;  Mr.  R.  H. 
Booth,  of  Detroit,  Mich.;  Mr.  C.  Buckingham,  Mr.  Bryan 
Lathrop,  and  Mr.  J.  H.  Wrenn,  of  Chicago;  Mr.  Atherton  Curtis, 


XXXVJ 


NOTES 


Mr.  George  Lucas,  and  Mr.  Alfred  Strdlin,  of  Paris;  Messrs.  P. 
&  D.  Colnaghi  &  Co.,  Mr.  Sidney  Colvin,  Director  of  the  Print 
Room  of  the  British  Museum,  the  late  Sir  John  C.  Day,  Mr.  E. 
Deprez,  Mr.  Walter  Dowdeswell,  Mr.  O.  Gutekunst,  Mr.  R.  Gute- 
kunst,  Mr.  G.  Mayer,  Messrs.  Obach  &  Co.,  and  Mr.  H.  S.  Theo¬ 
bald,  of  London ;  and  Mr.  H.  J.  J.  Pollitt,  of  Kendal,  England. 

I  wish  further  to  express  my  special  sense  of  indebtedness  to 
those  gentlemen  whose  practical  assistance  has  been  of  service 
in  the  preparation  of  this  catalogue.  Mr.  O.  M.  Torrington  has 
had  many  details  of  the  work  under  his  care;  his  sharp  eyes  and 
his  knowledge  have  aided  me  in  determining  priority  of  states ;  in 
other  ways  also  he  has  shown  his  zealous  interest,  for  which  I 
cannot  too  warmly  emphasize  my  appreciation. 

My  friend  Mr.  Royal  Cortissoz,  who  has  written  a  critical  esti¬ 
mate  of  Whistler’s  genius,  for  this  book,  has  kindly  assisted  me  in 
passing  the  proofs  through  the  press. 

The  readiness  of  Mr.  Howard  Mansfield  to  place  at  my  dis¬ 
posal,  at  any  time,  such  impressions  of  his  remarkably  fine  collec¬ 
tion  as  I  recjuired,  for  the  purpose  of  reproduction  or  comparison, 
helped  to  facilitate  the  work  in  that  direction,  and  it  is  with 
pleasure  that  I  thank  him. 

Thanks  for  similar  courtesies  are  due  to  Mr.  G.  Mayer  of 
Messrs.  Obach  &  Co.,  through  whose  hands  passed  nearly  all  the 
impressions  of  the  Menpes  Collection.  By  permitting  me  to  re¬ 
produce  the  many  rarities  of  that  collection,  and  by  other  civilities, 
he  has  placed  me  under  a  pleasant  obligation. 

E.  G.  K. 


xxxvn 


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CATALOGUE 


The  sizes  given  are  in  inches  and  fractions  of  an  inch. 

The  letters  following  the  titles  refer  to  existing  cata¬ 
logues  of  Whistler’s  Etched  Work. 

T.  refers  to  Thomas’s  Catalogue. 

W,  “  Wedmore’s  Catalogue. 

Sup.  “  the  Supplement  to  Wedmore’s  Catalogue. 
Gr.  “  the  Grolier  Club  Catalogue  of  1904. 

M.  “  Mansfield’s  Catalogue. 

The  names  of  the  owners  of  etchings  from  which  repro¬ 
ductions  have  been  made,  and  those  of  collections,  now 
dispersed,  which  have  been  drawn  upon  for  the  same  pur¬ 
pose,  are  printed  in  italics. 

In  the  description  of  a  subject,  “right”  and  “left”  are 
employed  from  the  point  of  view  of  the  observer,  except 
when  reference  is  made  to  a  person.  Thus  “the  right  eye” 
or  “right  foot”  of  “Florence  Leyland”  for  example,  is 
really  her  “right,”  though  “left”  from  the  view-point  of 
the  observer. 


CATALOGUE 


1  Sketches  on  the  Coast  Survey  Plate.  M.  i. 

Height  5%.  Width  9%. 

There  is  a  bevel  a  quarter  of  an  inch  all  around  the  etched  surface ; 
the  full  dimensions  of  the  plaie,  therefore,  are:  height  5%,  width  10%. 

2  Trees  in  a  Park.  M.  App.  m. 

Height  yVs.  Width  4%. 

H.  H.  Benedict. 

Though  there  may  be  but  slight  evidence  that  Whistler  did  any  work 
on  this  plate,  except  upon  the  figure,  the  fact  that  he  put  his  name  on  it 
must  be  sufficient  authority  for  including  it  amongst  his  etchings. 

3  Au  SiXimE.  M.  2.  Gr.  4. 

Height  4^.  Width  3. 

A  man  at  the  right,  with  a  pipe  in  his  mouth,  is  sitting  before  a  pic¬ 
ture  which  rests  on  an  easel.  At  the  left  is  a  stove  at  which  a 
woman  is  cooking ;  on  the  wall,  at  back,  are  sketches,  a  palette,  a  hat, 
and  a  shelf  with  pottery  on  it.  Below,  in  right  corner,  “Whistler 
inv.”  Probably  unique.  Haden  Collection. 

Not  reproduced. 


3 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


4  The  Dutchman  Holding  a  Glass.  M.  3.  Gr.  3. 

Height  3%6.  Width  234-  [W.  3.  T.  8l. 

I.  Before  the  almost  vertical  lines  in  the  background,  near  the  feet,  at 
left.  H.  Mansfield. 

II.  With  the  vertical  lines.  Lenox  Library. 

5  A  Youth  Wearing  a  German  Cap.  M.  4. 

Height  sVs.  Width  i%. 

A  youth  wearing  a  cap  and  wooden  shoes  stands  near  a  doorway. 
“J-  W.”  at  left  upper  corner. 

Not  reproduced. 

6  Seymour,  Standing.  M.  5.  Gr.  25.  Sup.  362. 

Height  3%.  Width  2%. 

A  boy  with  long  curly  hair,  in  Scotch  dress,  standing.  “J-  W.”  in 
the  lower  right  corner.  No  background.  Haden  Collection. 

Not  reproduced. 

7  Early  Portrait  of  Whistler.  M.  9.  Gr.  i.  w.  i. 

Height  4%.  Width  3K6. 

Lenox  Library. 

8  Annie  Haden,  with  Books.  M.  io.  Gr.  2.  W.  2. 

Height  3^%6-  Width  2%6- 

Lenox  Library. 

9  Little  Arthur.  M.  7.  Gr.  14.  W.  13.  T.  8. 

Height  3%6.  Width  2/4- 

I.  With  “J-  W.”  diagonally  on  the  rug  at  the  left.  Lenox  Library. 

II.  “Whistler”  in  right  lower  corner.  British  Museum. 

4 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  at  left  lower  edge. 

T.  J.  Coolidge,  Jr. 

IV.  The  plate  is  cut  down  at  the  bottom  and  sides,  and  now  measures : 
height  2%,  width  1%. 

Not  reproduced. 

V.  The  left  hand  is  more  heavily  shaded;  at  lower  left,  near  the  boy’s 
elbow,  “Whistler.” 

One  of  the  “Twelve  Etchings  from  Nature.” 

10  Annie.  M.  8.  Gr.  i6.  W.  15.  T.  10. 

Height  4%.  Width  334- 

I.  The  face  and  the  arrangement  of  the  hair  differ  from  those  of  the 
following  states  of  the  plate.  There  is  shading  at  lower  left,  between 
the  feet  and  the  edge  of  the  frock,  on  which  is  “J.W.”  diagonally. 
Lenox  Library. 

In  Whistler’s  writing,  on  the  margin  of  this  impression,  “With  the 
legs.” 

II.  The  legs,  initials,  and  shading  have  been  burnished  out,  and  the 
frock  is  reworked  and  lengthened  one  eighth  of  an  inch.  The  face  is 
slightly  redrawn,  and  the  hair  is  brought  over  the  ears  to  the  cheeks. 
There  are  almost  horizontal  lines  to  the  left  of  the  skirt,  and  several 
in  lower  right  corner,  near  which  is  “Whistler.”  Haden  Collection. 

Not  reproduced. 

III.  The  lines  at  lower  right  and  the  signature  have  been  erased;  the 
lines  at  the  left  of  the  skirt,  partly  so.  C.  Buckingham. 

IV.  New  lines  of  shading  are  at  the  left  of  the  skirt.  At  the  left,  below. 
“Whistler”;  at  the  right,  “Imp.  Delatre,  Rue  St.  Jacques,  171.” 

V.  The  legs  are  partly  drawn  in.  Below,  near  the  centre,  “Annie.” 

One  of  the  “Twelve  Etchings  from  Nature.” 

On  the  impression  in  the  Lenox  Library,  in  Whistler’s  writing,  “Legs 
not  by  me,  the  impertinent  work  of  another.” 

5 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


1 1  La  Mere  Gerard.  M.  13.  Gr.  10.  W.  9.  T.  6. 

Height  4%.  Width  3^4- 

I.  Without  background,  except  a  few  lines  at  lower  right;  before 
Delatre’s  address.  T.  J.  Coolidge,  Jr. 

The  title  is  written  in  ink  on  this  impression. 

On  the  impression  in  the  Lenox  Library,  “Whistler”  has  been  rubbed 
out,  and  “first  state,”  in  the  artist’s  writing,  substituted. 

II.  There  is  more  work  on  the  figure ;  the  background,  at  the  right,  is 
drawn  in  as  high  as  the  head.  British  Museum. 

III.  A  series  of  vertical  lines  is  added  on  the  cape.  The  garment  held  in 
her  left  hand  has  been  partly  erased;  it  is  now  altered  in  contour, 
is  longer,  and  has  several  folds  in  it.  Intricate  cross-lines  make  the 
shadow  of  the  figure,  which  has  now  a  definite  outline,  more  posi¬ 
tive.  There  are  new  horizontal  lines  in  the  left  background,  also  three 
irregular  slanting  lines  at  upper  left  corner.  H.  S.  Theobald. 

IV.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  in  centre,  at  lower  edge. 

One  of  the  “Twelve  Etchings  from  Nature.” 

12  La  Mere  Gerard,  Stooping.  M.  14.  Gr.  ii.  W.  10.  T.  32. 

Height  qVs.  Width  2^/2. 

Lenox  Library. 

13  Fumette.  M.  15.  Gr.  19.  W.  18.  T.  12. 

Height  6%.  Width  4%. 

I.  There  are  a  few  thin  lines  in  the  left  background  below  the 
shoulder,  and  the  collar  is  white.  Before  Whistler’s  name. 

Lenox  Library. 

II.  There  is  new  work  all  over  the  upper  part  of  the  figure,  a  few  thin 
lines  have  been  added  on  the  skirt,  and  “Whistler”  is  at  lower  right. 
The  lines  in  the  background  have  been  removed.  Lenox  Library. 

6 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  The  plate  appears  to  have  been  rebitten,  and  there  is  a  shadow  at 
left,  formed  by  complex  lines.  The  late  Sir  John  C.  Day. 

IV.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  at  lower  left. 

One  of  the  “Twelve  Etchings  from  Nature.” 

14  La  Retameuse.  M.  ii.  Gr.  6.  W.  5.  T.  3. 

Height  4%6.  Width  3^. 

I.  Before  the  name  of  the  artist,  and  name  and  address  of  the  printer. 
Not  reproduced. 

II.  With  the  names  and  address.  A  few  lines  added  in  upper  left  back¬ 
ground  have  been  partly  burnished  out.  Lenox  Librav'^. 

One  of  the  “Twelve  Etchings  from  Nature.” 

15  En  Plein  SOLEIL.  M.  12.  Gr.  7,  W.  6.  T.  4. 

Height  3%.  Width  5%. 

I.  Before  Delatre’s  name  and  address.  Lenox  Library. 

On  this  impression,  in  Whistler’s  writing,  “Before  Delatre — with 
name  at  top.” 

II.  With  “Imp.  Delatre,  Rue  S-  Jacques,  171,”  at  lower  right.  The 
“name  at  top” — upper  left  corner — is  indistinct. 

One  of  the  “Twelve  Etchings  from  Nature.” 

16  Liverdun.  M.  16.  Gr.  5.  W.  4.  T.  2. 

Height  4%6.  Width  6. 

I.  There  is  no  lettering  on  the  plate,  except  “Whistler,”  at  right  upper 
corner.  Lenox  Library. 

II.  With  “J.  Whistler”  at  left  lower  corner,  and  “Imp.  Delatre.  Rue 
St.  Jacques,  171,”  at  right,  below. 

One  of  the  “Twelve  Etchings  from  Nature.” 


7 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


17  The  Unsafe  Tenement.  M.  17.  Gr.  8.  W.  7.  T.  5. 

Height  eVs.  Width  8%. 

I.  There  are  few  lines  in  the  sky.  A  woman  is  sweeping  in  left  fore¬ 
ground.  Before  the  name  and  address  of  the  printer. 

Lenox  Library. 

“L’habitation  Dangereuse,”  in  Whistler’s  writing,  is  on  this  impression. 

II.  The  sky  is  expressed  largely  by  bold  horizontal  lines;  a  pitchfork 
stands  against  the  wall  in  place  of  the  woman,  who  has  been  re¬ 
moved.  The  name  and  address  of  the  printer  are  at  the  left  lower 
edge.  H.  H.  Benedict. 

III.  The  sky  has  been  removed.  H.  L.  Quick. 

Mr.  W.  Dowdeswell  has  noted  that  Sir  Seymour  Haden  said  at  one 
time  that  he  removed  the  sky. 

IV.  The  name  and  address  of  the  printer  have  been  erased. 

Impressions  in  this  state  are  recent. 

Not  reproduced. 

One  of  the  “Twelve  Etchings  from  Nature.” 


18  The  Dog  on  the  Kennel.  M.  i8.  Gr.  9.  W.  8.  T.  20. 

Height  2%.  Width  31/2. 

19  Street  at  Saverne.  m.  19.  Gr.  12.  W.  n.  T.  7. 

Height  SVs.  Width  6%6. 

I.  Before  the  artist’s  name  at  lower  left.  Haden  Collection. 

Not  reproduced. 

II.  With  the  artist’s  name,  but  before  the  printer’s.  The  sky  has  an 
open,  light  effect.  Lenox  Library. 

III.  The  sky  is  reworked  and  covered  with  close  horizontal  lines,  outlining 
the  rays  of  the  lantern  more  definitely.  There  are  new  lines  in  the 

8 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


street,  just  above  the  name  and  address  of  the  printer,  as  well  as 
vertical  and  cross  lines  at  extreme  lower  right;  the  upper  part  of 
the  gate  in  the  distance  has  been  altered,  and  a  few  horizontal  lines 
are  on  the  lower  part  of  it.  C.  Buckingham. 

IV.  The  upper  part  of  the  gate  has  been  reworked  with  close  horizontal 
lines;  there  is  slight  shading  at  the  top  of  the  lamp.  A.  W.  Scholle. 

V.  The  name  and  address  of  the  printer  have  been  removed. 

Impressions  in  this  state  are  recent. 

Not  reproduced. 

One  of  the  “Twelve  Etchings  from  Nature.” 


20  Gretchen  at  Heidelberg.  M.  20.  Gr.  13.  w.  12.  T.  33. 

Height  8,  Width  6%6- 
Lenox  Library. 

It  is  also  in  the  collections  of  Mr.  George  W.  Vanderbilt  and  Mr. 
Howard  Mansfield. 


21  La  Vieille  aux  Loques.  M.  21.  Gr.  15.  v^.  14.  T.  9. 
Height  SVs.  Width  5%. 

I.  Before  the  name  of  Delatre.  There  is  less  work  on  the  doorstep 
than  in  ii.  Lenox  Library. 

II.  “Imp.  Delatre,  Rue  St.  Jacques,  171,”  at  lower  right.  There  are 
new  lines  on  the  top  and  face  of  the  doorstep. 

III.  The  same  as  ii,  except  that  the  printer’s  name  and  address  have  been 
removed. 

Impressions  in  this  state  are  recent. 

Not  reproduced. 

One  of  the  “Twelve  Etchings  from  Nature.” 

9 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


22  La  MarCHANDE  DE  MoUTARDE.  M.  22.  Gr.  17.  W.  16.  T.  II. 
Height  eVs.  Width  31/2. 

I.  Before  Delatre’s  name  and  address.  The  bracket  over  the  girl’s 
head  is  shaded  by  single  diagonal  lines  running  from  left  to  right. 
A.  W.  Scholle. 

II.  There  are  vertical  lines  on  the  bracket,  and  two  additional  parallel 
lines  on  the  edge  of  the  table.  Before  the  intricate  work  in  the  space 
just  above  the  pots  on  the  shelf, and  the  perpendicular  cross-lines  in 
the  oblong  space  at  the  right,  immediately  under  the  arch.  “Imp. 
Delatre,  Rue  S‘  Jacques,  171,”  at  lower  left.  British  Museum. 

III.  The  space  above  the  pots  on  the  shelf  is  covered  with  fine,  intricate 
lines,  and  the  beam  below  the  arch  is  further  shaded  by  vertical 
lines.  Lenox  Library. 

IV.  A  line  is  drawn  through  the  name  and  address  of  Delatre. 

V.  The  name  and  address  of  Delatre  are  removed. 

The  editor  of  “English  Etchings”  bought  the  plate  in  1886  and  is¬ 
sued  two  hundred  impressions  in  this  state. 

One  of  the  “Twelve  Etchings  from  Nature.” 


23  The  Rag  Gatherers’.  M.  23.  Gr.  18.  W.  17.  T.  31. 

Height  6.  Width  3V2. 

I.  The  pot  at  lower  left  corner  is  white.  G.  Mayer. 

II.  There  is  more  work  on  the  wall  over  the  bed,  including  a  few  lines 
— almost  vertical — at  upper  right.  H.  H.  Benedict. 

III.  There  is  closer  and  more  intricate  work  all  over  the  plate.  The  pot 
is  shaded  with  cross-lines.  H.  Mansfield. 

IV.  A  series  of  cross-lines  has  been  added  to  the  shadow  at  lower  right, 
between  the  waste-basket  and  the  doorway.  Lenox  Library. 

V.  Two  figures  are  now  in  the  background,  a  girl  sitting  up  in  bed,  and 

10 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


a  boy  standing  near  her.  Under  “Whistler,”  at  right,  there  is  an  in 
distinct  date,  “1851,”  which  should  be,  doubtless,  1857. 

24  The  Kitchen.  M.  24.  Gr.  20.  W.  19.  T.  13. 

Height  8%.  Width  6%. 

I.  Before  Delatre’s  name  and  address.  G.  W.  Vanderbilt. 

Not  reproduced. 

II.  With  the  name  and  address  of  Delatre. 

In  this  state  one  of  the  “Twelve  Etchings  from  Nature.” 

III.  The  plate  is  retouched  with  vertical  lines  in  the  left  foreground; 
there  is  closer  work  at  the  right  edge  of  it  and  short  cross-lines  on 
the  beam  at  top,  from  centre  to  right. 

Fifty  impressions  of  this  state  were  printed  by  Whistler,  who  then 
trimmed  off  the  margins,  except  the  part  signed  in  pencil  with  the  but¬ 
terfly  and  “imp.”  The  plate  was  then  cancelled.  Published  by  The  Fine 
Art  Society,  in  1885. 


25  The  Title  to  the  French  Set.  M.  25.  Gr.  21.  W.  20.  T.  i. 

Height  4%.  Width  5%. 

The  impressions  of  the  few  earlier  sets  printed,  are,  generally,  on  a 
thin,  yellowish  China  paper,  mounted  on  light  white  plate  paper.  The 
plate  mark  is  a  trifle  outside  the  yellow  paper  and  sometimes  does  not 
show  clearly.  This  subject  was  also  printed  on  the  original  paper  wrap¬ 
pers  of  the  set. 

The  Pennells  say,  in  their  “Life  of  Whistler,”  that  Delannoy  donned 
Whistler’s  garments  and  sat  to  him,  Whistler  putting  his  own  head  on 
the  figure.  Thomas  speaks  of  the  man  sketching  as  a  portrait  of  the 
artist.  At  any  rate,  he  certainly  resembles  Whistler. 


26  August  Delatre.  M.  26.  Gr.  22.  W.  21.  T.  14. 
Height  3%6.  Width  2%. 

II 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


27  The  Wine-Glass.  M.  27.  Gr.  33.  W.  31.  T.  28. 

Height  3/4.  Width  2^. 

I.  The  shading  at  the  top  is  formed  by  horizontal  lines. 

II.  Close  vertical  lines  cross  the  plate  from  the  top  to  the  tray. 

28  Reading  IN  Bed.  M.  28.  Gr.  31.  W.  29.  T.  29. 

Height  4%.  Width  3%. 

I.  The  nose  is  straight,  and  the  pillow  under  the  head  is  shaded  at 
right. 

II.  The  nose  is  altered  to  a  retrousse,  and  the  face  is  redrawn.  The 
pillow  is  now  white;  there  is  additional  shading  on  the  curtain  at 
right,  above  the  girl’s  head. 

29  Seymour,  Seated.  (A  Little  Boy.)  m.  6.  Gr.  23. 

Height  51/4.  Width  3%.  [W.  22.  T.  16. 

I.  Before  the  vertical  lines  at  left,  etc.  Bryan  Lathrop. 

II.  There  are  two  vertical  lines  at  the  extreme  left;  almost  horizontal 
lines  cross  the  shading  at  the  right,  below. 

30  Annie,  Seated.  M.  29.  Gr.  26.  W.  24.  T.  50. 

Height  5^.  Width  3%. 

I.  Before  “Annie”  and  the  work  described  in  ii. 

II.  Horizontal  lines  extend  across  the  plate,  below  the  skirt.  Below 
them,  in  the  centre,  “Annie.” 

31  Seymour  Standing  under  a  Tree.  M.  32.  Gr.  24. 

Height  5%6.  Width  3%.  [W.  23.  T.  17. 

I.  Before  “Seymour”  at  lower  left.  H.  Mansfield. 

II.  “Seymour”  at  the  left,  below.  The  reflection  of  the  tree-trunk  has 
been  lightened  in  the  centre.  Bryan  Lathrop. 


12 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  The  legs  are  now  close  together,  but  their  reflections  have  not  been 
altered.  The  root  of  the  tree  at  Seymour’s  feet  is  strongly  outlined. 
H.  H.  Benedict. 

This  impression  is  partly  drawn  upon. 

32  Reading  by  Lamplight.  M.  30.  Gr.  27.  W.  25. 

Height  6%6.  Width  4%6.  [Sup.  p.  35.  T.  24. 

I.  The  reader’s  nose  is  straight ;  there  is  a  pattern  on  the  inverted  bowl, 
etc.  Lenox  Library. 

II.  The  arrangement  of  the  hair  is  changed,  and  the  nose  is  retrousse. 
Heavy  dry-point  work  on  the  background  deepens  the  shadows ;  the 
lines  about  the  head  have  been  burnished  out,  and  the  shading  on  the 
right  side  of  the  cup  and  saucer  has  been  erased. 

33  The  Music-Room.  M.  31.  Gr.  28.  W.  26.  T.  22. 

Height  S^Ke.  Width  8%6- 

I.  The  fingers  of  Sir  Seymour  Haden’s  right  hand  are  not  indicated. 
Lenox  Library. 

The  lines  on  the  paper  which  Sir  Seymour  is  reading,  and  on  the  wall 
above  it,  do  not  show  clearly  in  the  reproduction,  nor  does  the  landscape 
in  the  window  behind  Traer. 

Traer  was  a  surgeon  and  assistant  to  Sir,  then  Mr.  Seymour  Haden. 

II.  The  fingers  of  the  right  hand  are  now  formed.  There  is  closer 
work  in  the  right  background,  on  Lady  Haden’s  hair,  hands,  and 
skirt,  and  on  the  floor  to  the  right  of  Sir  Seymour;  the  window 
behind  Traer  is  now  almost  black. 

34  Greenwich  Pensioner.  M.  33.  Gr.  34.  W.  32.  T.  15. 

Height  3^%6-  Width  5^. 

The  landscape  is  faint  in  the  reproduction. 


13 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


35  Greenwich  Park.  M.  34.  Gr.  35.  W.  33.  T.  18. 

Height  4^%6-  Width  7%. 

I.  Before  the  sky.  Lenox  Library. 

II.  With  the  sky.  There  is  additional  work  all  over  the  plate,  particu¬ 
larly  on  the  trees  and  bushes  in  the  background. 

The  lines  in  the  sky  are  somewhat  faint  in  the  reproduction. 

In  Thomas’s  Catalogue  the  title  is  “Kensington  Gardens.” 

36  Landscape  with  the  Horse.  M.  35.  Gr.  48.  W.  46.  T.  23. 

Height  5.  Width  7%. 

I.  There  is  only  one  horse.  Before  the  sky. 

II.  The  plate  is  enriched  by  additional  work.  There  is  a  heavy  sky,  the 
contour  of  the  trees  is  altered,  and  there  is  a  second  horse.  One  of 
the  men  at  the  right,  in  the  distance,  is  covered  by  the  tree,  which 
has  been  enlarged. 

37  Nursemaid  and  Child.  M.  36.  Gr.  36.  W.  34.  T.  21. 

Height  3%.  Width  5%. 

I.  The  nose  of  the  nursemaid  is  straight. 

II.  The  nursemaid’s  nose  is  retrousse;  the  face  and  hair  are  redrawn, 
and  straggling  hairs  fall  over  her  temple  and  cheek. 

38  Thames  Warehouses.  M.  37.  Gr.  37.  W.  35.  T.  42. 

Height  3.  Width  8. 

I.  The  lines  of  the  sky  behind  the  vessels  in  the  distance  are  quite 
plain.  There  are  three  slanting  lines  in  the  water,  just  to  the  right 
of  the  pole  held  by  the  man  in  the  stern  of  the  boat,  at  the  left  of 
whom  stands  a  shadowy  figure.  Lenox  Library. 

The  shadowy  figure  and  the  pole  he  holds  have  been  erased,  also 

14 


II. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


the  lines  at  the  right  of  the  stern  of  the  boat;  the  lines  in  the 
sky  are  fainter. 

One  of  the  “Sixteen  Etchings.” 

39  Old  Westminster  Bridge.  M.  38.  Gr.  38.  W.  36.  T.  36. 

Height  2%.  Width  7^%6. 

I.  Before  the  additional  work  mentioned  in  ii.  Lenox  Library. 

II.  There  is  a  small  cloud  immediately  above  and  to  the  left  of  the  high 
tower,  and  there  are  several  horizontal  lines  above  the  derrick  at 
extreme  left.  Two  almost  horizontal  lines  in  the  water — one  short 
and  one  long — meet  at  the  head  of  the  man  with  the  spear  or  stick, 
at  the  left. 

One  of  the  “Sixteen  Etchings.” 

40  LimehouSE.  M.  39.  Gr.  39.  W.  37.  T.  39. 

Height  5.  Width  7%. 

I.  The  short  vertical  lines  on  the  stern  of  the  barge,  which  run  from 
the  dark  shadow  downward,  are  not  crossed  by  other  lines. 

H.  S.  Theobald. 

II.  The  vertical  lines  are  reduced  and  crossed  by  horizontal  lines; 
the  shadow  is  not  so  dark;  horizontal  lines  cross  the  lower  part 
of  the  masts  and  shrouds  of  the  ships  at  extreme  left. 

Lenox  Library. 

III.  To  the  left  of  the  leaning  mast,  new  fine  horizontal  lines  cross  the 
shipping  in  the  distance.  Above  the  masts,  at  right  and  centre,  there 
are  light  clouds  in  the  sky. 

One  of  the  “Sixteen  Etchings.” 

41  Eagle  Wharf.  (Tyzac,  Whiteley  &  Co.)  M.  40. 

Height  5%.  Width  8%.  [Gr.  41.  W.  39.  T.  40. 

One  of  the  “Sixteen  Etchings.” 

15 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


42  Black  Lion  Wharf.  M.  41.  Gr.  42,  W.  40.  T.  35. 

Height  5%.  Width  8%. 

I.  The  furled  sail,  only  partly  indicated  on  the  barge  at  the  right,  is 
white ;  the  doorway  further  to  the  right  is  not  shaded. 

Lenox  Library. 

II.  The  sail  and  doorway  are  shaded.  Lenox  Library. 

III.  The  black  mark  at  lower  left  edge  has  been  removed. 

One  of  the  “Sixteen  Etchings.” 

43  The  Pool.  M.  42.  Gr.  43.  W.  41.  T.  47. 

Height  5%.  Width  8%. 

I.  The  outline  of  the  interior  of  a  large  barge  is  at  the  left  of  the  man 
in  the  boat;  at  the  right  are  tall  warehouses  and  suggestions  of 
houses  beyond.  Haden  Collection. 

Not  reproduced. 

II.  The  sky  is  irregular  and  broken,  particularly  at  left.  There  is  a 
short,  heavy,  almost  vertical  line  below  the  stern  of  the  third  barge 
in  the  distance,  two  and  one  quarter  inches  from  the  left  edge ;  the 
sky-line  of  the  houses  at  extreme  left  is  not  so  sharp  as  in  iii  and  iv. 

III.  The  sky  has  been  erased  and  is  now  filled  with  irregular,  scratchy 
lines.  The  short  line  below  the  stern  of  the  barge  has  been  burnished 
out,  and  the  sky-line  of  the  houses  at  extreme  left  is  clearer  and 
slightly  changed.  Lenox  Library. 

IV.  A  few  undulating  lines  are  in  the  sky  at  top,  near  the  centre,  and 
fine  faint  lines  ak  the  left. 

One  of  the  “Sixteen  Etchings.” 

44  Thames  Police.  M.  43.  Gr.  44.  W.  42.  T.  43. 

Height  5%.  Width  878. 

i6 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


I.  The  cloud  near  the  tall  chimney  in  the  centre  does  not  touch  the 
roofs.  Lenox  Library. 

II.  The  cloud  touches  the  roofs.  H.  Mansfield. 

In  the  reproduction  the  sky  is  not  as  strong  as  in  the  original  etching. 

III.  The  sky  is  enriched  with  dry-point  work. 

One  of  the  “Sixteen  Etchings.”  (Wapping  Wharf.) 

In  the  later  impressions  many  of  the  dry-point  lines  in  the  sky  have 
worn  away  almost  entirely;  however,  traces  of  them  may  be  discovered 
with  a  magnifying-glass. 

45  Longshoremen.  M.  44.  Gr.  45.  W.  43.  T.  45. 

Height  5%.  Width  8%. 

46  The  Lime-Burner.  M.  45.  Gr.  46.  W.  44.  T.  38. 

Height  9%.  Width  6%. 

I.  Before  the  work  described  in  ii. 

II.  There  are  some  light  perpendicular  lines  at  the  right  of  the  shoulder 
of  the  lime-burner.  [Detail.] 

One  of  the  “Sixteen  Etchings.” 

47  Billingsgate.  M.  46.  Gr.  47.  W.  45.  T.  34. 

Height  5%.  Width  8%. 

I.  Part  of  the  third  arch  of  the  bridge,  at  the  right,  is  clearly  defined; 
there  are  no  cross-lines  of  shading  on  the  figure  with  thin  legs 
standing  at  the  foot  of  the  steps ;  the  distance  across  the  river,  under 
the  arches,  is  clearly  outlined.  The  small  tower  at  right  is  ex¬ 
pressed  by  vertical  lines  only.  F.  L.  Babbott. 

II.  There  are  more  lines  in  the  sky,  near  the  bridge,  at  right ;  the  sails 
of  some  of  the  sloops  have  been  reworked;  that  part  of  the  arch, 
which  in  i  is  clearly  seen,  is  darkened,  and  the  bridge  and  buildings 

17 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


further  to  the  right  have  been  reworked.  Short  horizontal  lines 
shade  the  figure  with  thin  legs,  and  the  small  tower  is  cross-hatched. 
H.  H.  Benedict. 

III.  The  upper  lines  of  the  sky  are  continuous  from  the  clock  tower  to 
and  beyond  the  high  masts  in  the  centre ;  the  bridge,  at  right,  and  the 
houses  beneath  the  tower  have  been  partly  erased ;  a  few  new  slant¬ 
ing  lines  are  added  in  the  sky  at  right.  Mrs.  Robert  Bliss. 

IV.  There  is  heavy  dry-point  work  in  the  sky  and  considerable  foul  bit¬ 
ing.  Five  of  the  six  large  figures  have  been  more  or  less  burnished 
out.  The  stays  of  the  yard  on  the  tall  mast  at  the  left  are  now  ex¬ 
pressed  by  two  lines  instead  of  one.  Other  minor  changes. 

E.  G.  Kennedy. 

V.  The  figures  have  been  slightly  reconstructed  and  the  sky  cleaned. 
The  high  topmast  at  the  left  has  been  partly  erased,  also  the  tops 
of  the  two  masts  on  each  side  of  it.  H.  Mansfield. 

VI.  The  six  figures  are  now  fully  completed,  and  the  faces  of  the  four 
to  the  right  are  expressed.  The  high  topmast  at  the  left  is  redrawn 
and  is  thicker  than  in  the  preceding  states.  The  top  of  the  mast  to 
the  right  of  it  has  been  lengthened  a  quarter  of  an  inch.  Between 
the  two  masts  at  the  right,  slanting  dry-point  lines  run  from  right 
to  left;  underneath  them,  another  series  of  lines  runs  in  the  opposite 
direction.  Other  slight  changes  in  the  sky.  Lenox  Library. 

VII.  There  is  cross-hatching  on  the  skirt  of  the  coat  of  the  seated  man 
at  the  right  of  the  group,  underneath  the  elbow.  /.  Caldwell. 

VIII.  The  diagonal  lines  between  the  masts,  mentioned  in  vi,  have 
disappeared. 

After  one  hundred  impressions  had  been  printed  on  Japanese  paper, 
the  plate  was  published  in  “The  Portfolio,”  January,  1878. 

48  A  Wharf.  M.  47.  Gr.  40.  W.  38.  T.  83. 

Height  5%.  Width  8%. 


18 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


49  SouPE  A  Trois  Sous.  M.  49.  Gr.  29.  W.  27.  T.  25. 

Height  5%.  Width  8%. 

Mr.  Wedmore  says,  in  his  Catalogue:  “Mr.  Avery  has  an  early  proof 
before  the  plate  was  cleaned.”  The  marks  on  the  impression  men¬ 
tioned,  are  outside  the  plate-mark  and  are  due  to  the  careless  handling 
of  the  printer. 

50  Bibi  Valentin.  M.  50.  Gr.  30.  W.  28.  T.  26. 

Height  6.  Width  8%. 

I.  Before  the  hand  was  drawn  in.  H.  S.  Theobald. 

II.  The  hand  is  completed.  There  is  new  work  all  over  the  frock  and  in 
the  background. 

51  Bibi  Lalouette.  M.  51.  Gr.  32.  W.  30.  T.  30. 

Height  9.  Width  6. 

I.  There  is  a  head  at  lower  left  and  one  at  lower  right.  H.  Mansfield. 

II.  There  are  horizontal  lines  at  left  and  right  of  Bibi,  and  there  is 
more  work  on  the  hair  and  blouse.  The  two  heads  have  been 
removed. 

52  Becquet.  M.  52.  Gr.  50.  W.  48.  Sup.  p.  35.  T.  54. 

Height  10.  Width  734- 

I.  The  shoulders  are  narrow ;  before  the  work  noted  in  ii. 

Only  five  impressions  are  known  to  me,  and  all  of  them  were  printed 
with  a  frisket. 

II.  The  shoulders  are  made  wider  by  long,  sweeping  dry-point  lines, 
which  also  suggest  a  cloak.  The  ’cello  has  been  partly  burnished 
out;  the  plate  is  uncleaned  at  the  lower  edge,  and  there  are  hori¬ 
zontal  lines  in  the  right  background  below  the  shoulder. 

Lenox  Library. 


19 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  Some  of  the  lines  at  the  sides  and  bottom  have  been  deepened, 
and  others  have  been  added.  The  lower  edge  of  the  plate  has  been 
cleaned.  H.  Mansfield. 

IV.  Many  of  the  lines  at  right  and  left  have  either  worn  away  or  have 
disappeared.  A  few  of  the  strong,  salient  lines  appear  to  have 
been  retouched. 

One  of  the  “Sixteen  Etchings.”  (The  Fiddler.) 

Whistler  told  me  that  this  plate  was  originally  an  oblong  etching  of 
West  Point,  made  by  an  old  classmate,  who  brought  it  to  him  for  his 
opinion.  Whistler  scraped  off  the  view  of  West  Point  and  put  Becquet 
in  its  place;  why,  he  did  not  say.  At  lower  right  corner  the  stacked 
muskets  may  be  plainly  seen ;  possibly  it  was  in  order  to  cover  them 
that  the  earliest  impressions  ( i )  were  printed  with  a  frisket. 


53  Astruc,  A  Literary  Man.  M.  53.  Gr.  51.  w.  49.  T.  66. 
Height  8%.  Width  6. 

I.  Before  the  work  noted  in  ii.  Lenox  Library. 

II.  Strong  dry-point  lines  have  reinforced  the  background  on  both  sides 
of  the  head.  H.  Mansfield. 

“Astruc,  Litterateur,”  in  Whistler’s  writing,  is  on  the  impression  in 
the  Lenox  Library.  Also,  on  the  right  margin,  opposite  the  little  figures 
below,  “fig^ires  not  mine.” 

The  impressions  from  the  cancelled  plate  have  the  faint  lettering  and 
figures  at  bottom  erased. 


54  Portrait  of  Whistler.  M.  54.  Gr.  54.  W.  52. 

Height  8%.  Width  6.  [Sup.  p.  36.  T.  65. 

I.  The  crown  of  the  hat,  at  the  left,  is  almost  white,  and  the  brim  only 
partly  shaded.  W.  V.  Kellen. 

II.  The  crown  and  brim  of  the  hat  are  shaded  by  horizontal  dry-point 
lines.  Lenox  Library. 


20 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


55  DroUET.  M.  55.  Gr.  55.  W.  53.  T.  55. 

Height  8%.  Width  6. 

I.  There  are  heavy  lines  on  the  forehead;  before  the  work  men¬ 
tioned  in  II.  Lenox  Library. 

II.  The  work  on  the  forehead  is  reduced.  Heavy,  sweeping  lines  form 
the  outline  of  the  right  sleeve ;  vertical  lines  are  in  the  background  at 
left,  and  horizontal  and  slanting  lines  cross  “Whistler,  1859.” 

A.  W.  Scholle. 

The  plate  was  among  those  cancelled  by  Whistler  in  1879.  It  finally 
fell  into  the  hands  of  some  one  who  had  the  lines  of  cancellation,  which 
were  light,  erased,  and  the  original  lines  drawn  together  again.  Impres¬ 
sions  from  the  plate  in  this  state  are  deceptive,  but  can  be  detected  upon 
close  comparison  with  an  early  print.  They  may  be  recognized  by  a 
slight  mark  on  the  nose. 


56  Fumette,  Standing.  M.  56.  Gr.  52.  W.  50.  T.  61. 

Height  13%.  Width  8^4- 

I.  Before  Whistler’s  name  and  the  date.  Lenox  Library. 

“Fumette”  and  “Whistler”  are  written  in  pencil  by  the  artist  on  the 
original  impression. 

II.  Whistler’s  name  and  the  date  are  now  added  in  dry-point  in  lower 
right  corner.  J.  Caldwell. 

There  is  a  bevel  on  this  plate  one  eighth  of  an  inch  all  around,  larger 
than  the  sizes  given. 


57  Fumette’s  Bent  Head.  M.  57.  Gr.  53.  W.  51.  T.  70. 
Height  8%.  Width  6. 

I.  Before  “Whistler,  1859.”  H.  Mansfield. 

II.  With  the  artist’s  name  and  the  date  near  the  lower  left  corner. 

Not  reproduced,  as  there  is  no  other  additional  work. 


21 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


58  Finette.  M.  58.  Gr.  56.  W.  54.  T.  56. 

Height  11%.  Width  778. 

I.  The  head  is  completed.  The  figure  is  indicated  by  only  a  few  lines, 
and  distant  Paris  is  in  faint  outline.  Haden  Collection. 

Not  reproduced. 

II.  The  dress  is  strongly  outlined,  with  shadows  lightly  indicated. 
Before  the  scroll-work  in  the  window,  etc.  Below,  at  right, 
“Whistler,  1859.”  Lenox  Library. 

III.  The  dress  is  almost  completed.  The  table  and  background  at  right 
are  roughly  drawn  in,  and  the  space  below  the  window  is  divided 
into  panels  by  heavy  lines.  Vertical  lines  are  added  on  the  mirror, 
and  a  few  thin,  almost  horizontal  lines  in  the  background  below  it. 
H.  S.  Theobald. 

IV.  The  work  on  the  dress  is  carried  further,  the  pattern  on  the  carpet 
is  indicated,  the  scroll-work  is  in  the  window,  and  the  jewel-box, 
etc.,  are  on  the  table;  the  city  in  the  distance  and  the  sky  above  it 
are  drawn  in.  Further  shading  on  the  mirror  by  almost  vertical 
lines.  Lenox  Library. 

V.  The  pattern  of  the  carpet  is  changed  and  the  background  at  the 
right  partly  erased.  Below  the  window,  the  woodwork  is  covered 
with  thin  upright  lines ;  new  shading  on  the  mirror.  C.  Buckingham. 

The  skirt  of  the  gown  in  the  original  impression  is  badly  inked,  while 
some  of  the  delicate  lines  are  faint  or  do  not  appear  in  the  reproduction. 

VI.  The  background  at  the  right  is  reworked,  also  the  mirror  (the 
frame  of  which  has  now  an  ornamental  corner),  the  jewel-box,  etc. 
H.  Mansfield. 

VII.  There  is  new  work  on  the  background  at  the  right,  also  on  the  mir¬ 
ror;  additional  lines  are  on  the  window-sill.  H.  S.  Theobald. 

VIII.  At  the  extreme  right,  new  lines  in  the  background  reach  the  top  of 
the  plate.  C.  Buckingham. 


22 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IX.  The  woodwork  below  the  window  is  now  covered  with  horizontal 
lines.  Lenox  Library. 

X.  A  number  of  vertical  lines  are  added  below  the  window.  The 
hands,  also  the  hair  at  left,  are  burnished  out  almost  completely, 
preparatory  to  remodelling.  Nothing  further  was  done,  however, 
and  the  plate  was  cancelled. 

Mr.  G.  W.  Vanderbilt  has  an  impression  that  is  the  same  as  iii,  except 
that  the  horizontal  lines  under  the  mirror  are  not  visible. 

59  Venus.  M.  59.  W.  56.  T.  27. 

Height  6.  Width  9. 

I.  Before  the  additional  work  mentioned  in  ii. 

II.  A  number  of  almost  vertical  lines  are  in  the  upper  right  corner. 
[Detail.] 

60  Isle  de  la  Cite,  Paris.  M.  6o.  Gr.  57.  W.  55.  T.  19. 

Height  7%.  Width  1 1 1/4. 

In  Thomas’s  Catalogue  the  title  is,  “L’isle  St.  Louis.” 

On  the  impression  in  the  Lenox  Library,  in  Whistler’s  writing,  “from 
window  of  Louvre.” 

61  Arthur  Haden.  m.  61.  Gr.  49.  W.  47.  T.  59. 

Height  8%.  Width  6. 

I.  Unfinished ;  before  the  name  and  date.  /.  H.  Wrenn. 

II.  The  plate  is  practically  completed.  “Whistler,  1869,”  at  lower 
left.  /.  T.  Pollitt. 

III.  There  is  a  shadow  formed  by  a  number  of  short  horizontal  lines 
which  run  from  the  right  of  the  ankle  of  the  foot  on  the  floor, 
almost  to  the  edge  of  the  trousers  leg;  the  curtain  has  been  re¬ 
worked,  there  are  new  lines  on  the  hair  and  also  just  above 
“Whistler,  1869.”  A.  W.  Scholle. 


23 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


62  Annie  Haden.  M.  62.  Gr.  58.  W.  57.  T.  51. 

Height  13%.  Width  8%. 

I.  The  head,  hat,  and  the  curtain  at  the  left  are  fairly  complete.  To¬ 
ward  the  bottom,  a  girl’s  head,  inverted,  shows  faintly. 

Haden  Collection. 

Not  reproduced. 

II.  The  dress  is  further  expressed  by  a  few  lines,  and  one  leg  is  drawn 
in  outline.  The  girl’s  head,  below,  is  removed.  Lenox  Library. 

III.  There  is  new  work  all  over  the  plate,  completing  it.  Lenox  Library. 

On  the  early  proof  in  the  Lenox  Library  is,  “one  of  my  very  best,”  in 
Whistler’s  writing.  Apropos  of  which,  Whistler,  in  course  of  conversa¬ 
tion,  told  me  that  if  he  had  to  make  a  decision  as  to  which  plate  was  his 
best,  he  would  rest  his  reputation  upon  “Annie  Haden.” 

63  Mr.  Mann.  M.  63.  Gr.  59.  W.  58.  T.  72. 

Height  8%.  Width  6. 

I.  There  are  only  half  a  dozen  vertical  lines  which  cross  the  mould¬ 
ing  to  the  right  of  the  hat.  There  is  a  white  spot  at  the  right  edge 
of  the  panel,  etc.  Lenox  Library. 

II.  Fifteen  or  sixteen  fine  lines  now  cross  the  moulding;  the  white 
spot  is  partly  shaded  by  thin  vertical  lines,  and  there  are  four  ir¬ 
regular  upright  lines  to  the  right  of  it,  one  quarter  of  an  inch  from 
the  edge  of  the  plate.  An  angular  space,  about  an  inch  and  three 
quarters  below  the  right  wrist,  is  now  filled  with  cross-lines. 

J.  Caldwell. 

64  Axenfeld.  M.  64.  Gr.  62.  W.  61.  T.  52. 

Height  8%.  Width  5%. 

I.  Before  the  hand,  background,  and  artist’s  name.  Lenox  Library. 

II.  The  background  is  partly  drawn  in;  more  work  on  the  head; 
“Whistler,  i860,”  at  lower  left.  Lenox  Library. 


24 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  The  background,  head,  leg,  and  hand  are  finished;  more  work  on 
the  coat.  Lenox  Library. 

65  Riault,  the  Engraver.  M.  65.  Gr.  63.  W.  62.  T.  58. 

Height  8%.  Width  5%. 

I.  Before  the  vertical  lines  on  the  drawers  of  the  table,  etc. 

H.  Mansfield. 

II.  The  upper  drawer  of  the  table  is  shaded  by  vertical  lines.  The 
white  space  beneath  the  right  arm  is  darkened  by  lines  running  in 
different  directions.  Lenox  Library. 

III.  There  are  horizontal  lines  at  the  left,  which  run  from  the  neck  and 
shoulder  to  the  edge  of  the  plate;  and  at  the  right,  from  the  left 
hand  to  the  other  edge.  The  lines  on  the  drawers  of  the  table  are 
closer,  and  the  work  under  the  right  arm  is  carried  across  the 
leg  as  far  as  the  knee. 

No  impression  of  iii,  except  from  the  cancelled  plate,  which  is  here 
reproduced,  is  known  to  me. 

66  RoTHERHITHE.  M.  66.  Gr.  61.  W.  60.  T.  41. 

Height  10%.  Width  7%. 

I.  The  hull  of  the  boat  in  the  centre  of  the  foreground  is  not  drawn 
in.  H.  H.  Benedict. 

II.  The  boat  is  completed,  and  the  sky  is  strengthened  by  numerous 
oblique  lines.  Lenox  Library. 

The  reproduction  is  weak  in  the  sky. 

III.  Diagonal  lines,  running  from  left  to  right,  cross  the  arm  and 
shoulder  of  the  man  in  the  centre;  the  bow  of  the  boat  is  further 
shaded  by  fine  vertical  dry-point  lines,  and  delicate  lines  are  added 
in  the  sky. 

Published  as  “Wapping.” 

One  of  the  “Sixteen  Etchings.” 

25 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


67  The  Penny  Boat.  M.  67.  Gr.  60.  W.  59. 

Height  3%6.  Width  8%6. 

I.  There  are  no  clouds  in  the  sky  at  right.  Lenox  Library. 

On  this  impression,  in  Whistler’s  writing,  “Thames — Limehouse.” 

II.  The  clouds  at  the  right  are  expressed  by  horizontal  lines,  and  the 
roof  of  the  house  above  the  rowboat  in  the  centre  is  shaded. 

H.  Mansfield. 

68  The  Forge.  M.  68.  Gr.  64.  W.  63.  T.  57. 

Height  7%.  Width  12%. 

I.  Before  the  heavy  oblique  lines  in  the  right  upper  corner  and  the 
heavy  lines  at  lower  left,  etc.  H.  Mansfield. 

II.  There  is  new  work  all  over  the  plate,  including  that  described  as 
lacking  in  i.  C.  Buckingham. 

III.  New  horizontal  lines  are  in  the  space  above  the  hanging  tools; 
there  are  cross-lines  on  the  face  of  the  anvil,  and  new  heavy  oblique 
lines  on  the  base  which  supports  it.  A  few  heavy  vertical  lines  are 
on  the  forge  flue,  and  there  is  closer  work  all  over  the  plate. 

IV.  The  fine  work  is  much  worn,  but  concealed  somewhat  by  manipula¬ 
tion  of  the  ink.  The  white  spot  behind  the  blacksmith’s  head  is 
covered  with  fine  lines. 

Impressions  in  this  state  are  recent. 

One  of  the  “Sixteen  Etchings.” 


69  The  Miser.  M.  69.  Gr.  67.  W.  65.  T.  62. 

Height  4%.  Width  6/4. 

I.  Before  the  short  oblique  lines  on  the  picture,  and  on  the  wall  near 
it.  Before  “Whistler”  at  lower  left.  Haden  Collection. 


Not  reproduced. 


26 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  There  are  two  short  oblique  lines  on  the  picture,  two  below,  and 
two  to  the  right  of  it.  Lenox  Library. 

III.  Long  vertical  lines  partly  shade  the  space  to  the  right  of  the  figure. 

IV.  Short  slanting  lines  cross  the  vertical  lines  mentioned  in  iii.  Heavy 
inking  has  deepened  the  shadow  of  the  figure.  H.  Mansfield. 

V.  The  plate  has  been  reworked  with  fine  dry-point  lines — the  ceil¬ 
ing,  walls,  and  part  of  the  floor — and  “Whistler”  is  in  left  lower 
corner.  /.  Caldwell. 

70  Vauxhall  Bridge.  M.  70.  Gr.  68.  W.  66.  T.  46. 

Height  2%.  Width  4^. 

I.  Before  the  date.  H.  Mansfield. 

Not  reproduced. 

II.  With  the  date,  “1861.” 

71  Millbank.  M.  71.  Gr.  69.  W.  67.  T.  44. 

Height  4.  Width  5. 

I.  With  the  inscription;  before  the  long  and  apparently  unmeaning 
lines  at  the  stern  of  the  outside  barge.  Lenox  Library. 

II.  The  long  lines  are  added  on  the  stern  of  the  outside  barge;  the 
shadow  of  the  man  at  right  is  extended.  E.  L.  Knoedler. 

III.  There  are  additional  lines  in  the  sky  at  right;  “London”  is  added 
in  lower  right.  E.  L.  Knoedler. 

The  original  impression  is  badly  printed. 

IV.  With  the  word  “not”  after  “are” ;  two  or  three  slanting  lines  are 
added  to  the  shadows  of  the  men ;  “London”  is  removed. 

H.  S.  Theobald. 

V.  The  inscription  has  been  erased;  the  delicate  lines  in  the  sky  are 
either  partly  or  entirely  worn  away. 

One  of  the  “Sixteen  Etchings.” 

27 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


72  Westminster  Bridge  in  Progress.  M.  74.  Gr.  73.  W.  70. 

Height  5%.  Width  13%. 

Lenox  Library. 

73  Little  Wapping.  M.  72.  Gr.  74.  W.  71.  T.  49. 

Height  4%.  Width  4. 

I.  Part  of  the  bow  of  the  schooner  with  bare  masts  is  white. 

British  Museum. 

II.  The  masts  now  have  stays  and  the  bow  is  heavily  shaded;  touches 
of  new  work  all  over  the  plate. 

74  The  Little  Pool.  M.  73.  Gr.  75.  W.  72.  T.  48. 

Height  4.  Width  4%. 

I.  The  face  of  the  artist  is  incomplete;  there  are  no  lines  in  the  sky, 
and  the  side  of  the  house  with  the  steeple,  at  the  left,  is  not  shaded. 
H.  Mansfield. 

la.The  same  state,  but  drawn  upon  with  crayon.  British  Museum. 

Upon  this  impression  Thomas  wrote :  “2*  Second  state.  Whistler  sd. 
there  was  a  barge  before  a  part  of  to-day  (March  1861)  I  should  like 
to  try  how  it  would  come.  He  then  chalked  in  the  barge  above,  but 
however  did  not  use  it,  but  made  state  3.” 

II.  Foul  biting  on  the  lower  part  of  the  plate.  /.  H.  Wrenn. 

III.  There  is  new  work  all  over  the  plate ;  new  vessels  are  introduced  in 
the  left  distance;  clouds  are  in  the  sky;  a  barge  with  a  sail  is  in  the 
right  foreground ;  the  house  in  the  distance  at  the  left  is  shaded,  the 
face  of  the  artist  is  formed,  etc.  H.  Mansfield. 

IV.  There  are  three  new  short  horizontal  parallel  lines  at  the  top  of 
the  plate,  in  the  centre,  and  there  is  additional  work  on  the  barges 
in  the  distance.  Two  more  figures,  and  the  soft  hat  which  the 
artist  now  wears,  are  drawn  in  ink.  British  Museum. 

V.  There  is  additional  shading  on  the  man  standing  and  on  the  artist, 
who  again  wears  a  tall  hat.  A  new  figure  is  seated  on  the  bulkhead 

28 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


with  his  legs  hanging  over  it.  A  ship  has  been  added  to  the  group  in 
the  distance;  a  rowboat  in  mid-distance  is  broadside  on,  and  a 
steamer  is  at  the  right,  beyond  the  shipping.  Several  minor  changes 
in  sky  and  water. 

VI.  The  whole  plate  has  undergone  a  change,  which  is  accounted  for  by 
the  memorandum  in  Thomas’s  writing  on  the  original  impression 
in  the  British  Museum: 

“The  relic  of  this  plate  I  took,  according  to  Whistler’s  direction  to 
Hughes  &  Kimber  to  have  the  mist  taken  off  the  name  and  the  wretched 
Goths  took  the  whole  off — and  spoiled  it,  of  course,  March  27th,  1861.” 
Also,  written  obliquely,  “only  one  beside  one  Whistler  has.”  And,  in 
another  handwriting,  “printed  by  Whistler  himself.” 

VII.  The  plate  is  retouched  all  over,  and  the  mast  and  sail  at  lower  right 
are  erased.  Both  men  wear  overcoats,  and  a  clump  of  piles  covers 
the  figure  in  front  of  the  artist.  British  Museum. 

VIII.  The  two  lines  of  lettering  are  removed. 

The  man  sketching  is  Percy  Thomas,  and  the  man  standing  Serjeant 
Thomas. 

One  of  the  “Sixteen  Etchings.” 

75  Early  Morning,  Battersea.  M.  75.  Gr.  82.  W.  79.  T.  64. 

Height  4%.  Width  6. 

The  title  in  the  “Sixteen  Etchings”  was  “Early  Morning  (Battersea),” 
which  Mr.  Wedmore  changed  to  “Cadogan  Pier.”  The  first  title  is 
much  more  in  harmony  with  the  effect  achieved  by  the  artist,  and  is, 
therefore,  used.  On  the  proof  in  the  Lenox  Library,  in  Whistler’s  writ¬ 
ing,  “Battersea  Dawn.” 

One  of  the  “Sixteen  Etchings.” 

76  Old  Hungerford  Bridge.  M.  76.  Gr.  83.  W.  80.  T.  37. 

Height  5%.  Width  8%. 

I.  The  left  upper  sky  is  foul  bitten.  A.  W.  Scholle. 


29 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  foul  biting  is  removed  and  is  replaced  by  fine  lines;  the  two 
centre  upright  supports  of  the  bridge  are  partly  burnished  out 
below.  A  building  with  a  tower  or  spire  appears  at  upper  left. 
The  small  figures  at  lower  right  have  disappeared.  H.  Mansfield. 

III.  The  sky  is  reworked  and  the  smoke  from  the  steamboat  in  the  centre 
is  clearly  outlined. 

The  reproduction  of  iii  is  not  as  faithful  as  could  be  wished.  How¬ 
ever,  it  shows  the  changes  in  the  sky  and  steamboat  smoke  fairly  well. 

One  of  the  “Sixteen  Etchings.” 

77  Jo.  M.  77.  Gr.  65.  W.  64.  T.  60. 

Height  9.  Width  6. 

Lenox  Library. 

Joanna  Heffernan,  “La  Belle  Irlandaise.”  For  an  extended  account 
of  Joanna,  see  the  Pennells’  “Life  of  Whistler.” 

78  Jo’s  Bent  Head.  M.  78.  Gr.  66.  Sup.  370. 

Height  9.  Width  5%. 

I.  There  are  fewer  lines  at  the  right  below  than  in  II.  M.Menpes. 

II.  Two  lines  are  added  to  the  edge  of  the  skirt  at  right, 
no.  The  same,  with  heavy  effect  of  ink  left  on  the  plate. 

On  an  impression  belonging  to  Mr.  Benedict,  in  Whistler’s  writing, 

“Jo.” 

79  Lady  in  an  Arm-Chair.  M.  80. 

Height  9.  Width  6. 

The  only  impressions  known  are  from  the  cancelled  plate. 

80  Ratcliffe  Highway.  M.  81.  Gr.  77.  W.  74.  T.  63. 

Height  6.  Width  9. 

Lenox  Library. 


30 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


81  The  Storm.  M.  83.  Gr.  80.  W.  77.  T.  74. 

Height  61/^.  Width  1 1 14. 

H.  Mansfield. 

Only  four  impressions  are  known  before  the  cancellation  of  the  plate. 

On  the  impression  in  the  British  Museum,  in  Whistler’s  writing,  “a 
mon  ami  Delatre,  Whistler.” 

82  Encamping.  M.  82.  Gr.  78.  W.  75.  T.  68. 

Height  I  H/i.  Width  6^/4. 

The  only  impression  known  before  the  cancellation  of  the  plate. 
British  Museum. 

The  English  photographer  cut  off  the  lower  part  of  the  negative ; 
why,  is  not  known. 

Another  impression.  There  is  no  variation  in  the  work,  though  there 
is  in  the  printing.  From  the  cancelled  plate. 


83  Landscape  with  a  Fisherman.  M.  84. 

Height  6.  Width  8%. 

The  only  impressions  known  are  from  the  cancelled  plate. 

84  The  Open  Book.  m.  79. 

Height  5%.  Width  4^4. 

The  only  impressions  known  are  from  the  cancelled  plate. 

85  The  Punt.  M.  86.  Gr.  70.  W.  68.  T.  85. 

Height  4%.  Width  51/2. 

I.  The  braces  of  the  punt  are  lightly  drawn  in.  H.  H.  Benedict. 

II.  The  braces  and  sides  of  the  punt  are  reinforced  by  heavy  lines. 
There  is  additional  w'ork  on  the  landscape.  Lenox  Library. 

III.  The  name  and  address  of  Day  &  Son  are  added  at  the  bottom. 


31 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IV.  The  signature  is  taken  out  and  “PI.  7”  is  engraved  in  the  right  upper 
corner. 

Not  reproduced. 

Published  in  “Passages  from  Modern  English  Poets,  illustrated  by 
the  Junior  Etching  Club.”  (Day  &  Son,  1862.) 

On  Mr.  Benedict’s  impression  (i),  in  Whistler’s  writing,  “Proof  by 
Day’s  man.” 

On  this  plate  there  is  a  bevel  of  about  one  eighth  of  an  inch  all 
around,  which  is  included  in  the  sizes  given. 

86  Sketching,  No.  1.  M.  87.  Gr.  71.  W.  69.  T.  86. 

Height  Width  6%. 

I.  The  trees  and  landscape  are  unfinished.  H.  H.  Benedict. 

II.  There  is  additional  work  all  over  the  plate,  which  gives  a  stronger 
effect.  Lenox  Library. 

III.  The  name  and  address  of  Day  &  Son  are  added. 

IV.  Engraved  in  right  upper  corner,  “PI.  45.” 

Not  reproduced. 

Published  in  “Passages  from  Modern  English  Poets.”  (See  No.  85.) 

On  this  plate  there  is  a  bevel  of  about  one  eighth  of  an  inch  all 
around,  which  is  included  in  the  sizes  given. 

87  Sketching,  No.  2.  M.  85.  Gr.  72. 

Height  4%.  Width  6%6- 

Formerly  in  the  Macgeorge  Collection,  but  now  owned  by  Mr.  Howard 
Mansfield.  Probably  unique. 

88  Ross  Winans.  M.  88.  Gr.  79.  W.  76.  T.  67. 

Height  g%.  Width  7%. 

I.  Before  the  work  on  the  sleeve;  two  signatures,  one  fainter  than 
the  other,  are  written  obliquely  toward  the  right  upper  corner. 

H.  Mansfield. 

32 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  Lateral  lines  are  added  on  the  upper  part  of  the  sleeve,  on  the  cuff, 
and  below  the  elbow.  The  fainter  signature  has  been  erased. 
Lenox  Library. 

89  Chelsea  Wharf.  M.  89.  Gr.  84.  W.  81.  T.  75. 

Height  3%.  Width  7^4- 

I.  Before  the  butterfly.  Haden  Collection. 

Not  reproduced. 

II.  The  butterfly  is  at  lower  right.  Lenox  Library. 

90  Battersea  Reach,  m.  90. 

Height  sVs-  Width  SYs. 

The  only  impressions  known  are  from  the  cancelled  plate. 

91  Amsterdam,  FROM  THE  Tolhuis.  M.  91.  Gr.  85. 

Height  5%6.  Width  8%6.  [W.  82.  T.  82. 

I.  Before  the  butterfly;  with  the  heavy  sky. 

II.  The  sky  and  tops  of  the  masts  in  the  foreground  are  partly  bur¬ 
nished  out.  W alter  Dowdeswell. 

III.  The  sky  is  still  further  reduced  at  the  right,  and  is  redrawn,  as  are 
the  masts.  The  late  Sir  John  C.  Day. 

IV.  Four  short  dry-point  lines  are  added  at  upper  left,  also  the  butter¬ 
fly,  near  the  title  at  lower  right. 

a.  This  reproduction  is  taken  from  a  photogravure  of  part  of  the  orig¬ 
inal.  As  it  is  made  from  the  first  state,  the  intent  to  deceive  is  obvious. 

92  Weary.  M.  92.  Gr.  86.  W.  83.  Sup.  p.  36.  T.  71. 

Height  7%.  Width  5^. 

I.  Before  “Whistler  63”  and  the  heavy  vertical  and  horizontal  lines 
in  upper  right  background.  Lenox  Library. 

33 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  With  the  name,  date,  and  the  lines.  Mrs.  Robert  Bliss. 
no.  The  same,  differently  printed. 

III.  The  hair,  the  waist,  the  back  of  the  chair,  and  the  right  background 
are  heavily  retouched  and  new  work  added.  “63”  has  been 
removed. 

93  The  Toilet,  m.  93. 

Height  9.  Width  6. 

The  only  impressions  known  are  from  the  cancelled  plate. 

94  Shipping  at  Liverpool,  m.  94.  Gr.  87.  W.  84. 

Height  9.  Width  6. 

I.  Before  the  horizontal  and  oblique  lines  between  the  mast  and  the 
stays  at  the  right  of  it.  M.  Menpes. 

II.  With  the  work  lacking  in  i.  There  are  four  short  dry-point  lines 
on  the  back  of  the  man  standing  in  the  left  foreground;  the  hulls 
and  rigging  of  the  vessels  in  the  distance  are  more  elaborated, 
and  there  are  additional  horizontal  lines  in  the  sky.  Lenox  Library. 

95  Chelsea  Bridge  and  Church.  M.  96.  Gr.  88.  W.  85. 

Height  4.  Width  6V2.  [Sup.  p.  36.  T.  53. 

I.  The  upper  half  of  the  house  behind  the  mast  is  only  partly  shaded. 
H.  Mansfield. 

II.  The  house  is  shaded.  Two  strong  etched  lines  suggest  a  roof  to  the 
left  of  the  tower.  A  tree  at  lower  right  is  drawn  in  crayon,  and 
the  boats  and  buildings  at  the  left  are  “touched”  with  it. 

Lenox  Library. 

III.  The  plate  is  completed  at  the  left;  a  sailing  barge,  lightly  etched, 
is  at  the  right.  Lenox  Library. 

IV.  New  work  on  the  sailing  barge  and  its  reflections;  there  is  a  flock 
of  birds  in  the  sky.  H.  Mansfield. 


34 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


V.  Two  heavy  horizontal  lines  run  from  the  church  tower  to  the  mast, 
and  longer  horizontal  lines  are  in  the  water  below  the  bridge; 
there  is  added  shading  on  the  sail,  the  reflection  of  which  is  extended 
by  new  vertical  lines.  H.  H.  Benedict. 

VI.  The  outline  of  the  sail  is  much  heavier,  and  the  hull  is  shaded  with 
short  vertical  lines ;  there  are  slanting  lines  in  the  sky,  at  the  extreme 
right.  Lenox  Library. 

One  of  the  “Sixteen  Etchings.” 


96  Speke  Hall,  No.  1.  M.  95.  Gr.  89.  W.  86. 

Height  8%.  Width  5%. 

I.  The  woman  in  the  foreground  is  turned  toward  the  house,  the  lower 
part  of  which,  at  left,  is  white,  excepting  dry-point  indications  of 
a  doorway  and  railing.  M.  Menpes. 

II.  There  are  new  lines  of  shading  on  the  back  of  the  woman,  and 
slanting  lines,  from  left  to  right,  between  the  trees  at  right. 

H.  Mansfield. 

III.  The  figure  has  been  partly  burnished  out  and  then  shaded ;  the  out¬ 
lines  of  the  skirt  and  shoulders  are  altered. 

Royal  Collection,  Windsor. 

IV.  The  figure  is  entirely  removed;  the  house-front  at  left  is  still  white. 

V.  A  new  figure  in  profile,  wearing  a  small  round  hat,  is  introduced. 

VI.  The  figure  has  been  redrawn.  The  hat  is  trimmed  and  the  skirt 
altered  and  shaded.  The  white  space  on  the  house  is  filled  in,  and 
a  fence  is  added.  There  is  new  work  on  the  bushes  at  the  centre  of 
the  house.  W.  B.  Dickerman. 

VII.  The  woman  wears  a  fur-trimmed  jacket.  There  is  new  work  on  the 
skirt,  on  the  hat,  on  the  trunks  of  the  trees  at  left,  and  between  the 
trees  at  right;  there  is  also  additional  work  on  the  roof  and  on 
the  gable  at  left. 


35 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


VIII.  Two  small  open  lines  are  added  at  the  back  of  the  woman’s  waist; 
the  butterfly  is  at  left,  below.  H.  Wunderlich  S’  Co. 

IX.  There  is  a  heavy  curved  line  on  the  back  of  the  figure;  the  skirt  is 
partly  burnished  out  in  front  and  slightly  redrawn.  H.  Mansfield. 

X.  The  figure  and  butterfly  are  entirely  burnished  out.  Almost  all 
the  windows  are  now  composed  of  small  diamond-shaped  panes; 
vertical  lines  cross  the  slanting  lines  at  right. 


97  Whistler’s  Mother,  m.  99.  Gr.  92.  W.  88. 

Height  9%.  Width  6. 

I.  Unique.  M.  Menpes. 

II.  Several  oblique  lines  at  the  lower  left  edge  of  the  skirt  show  that 
Whistler  had  worked  further  on  this  subject. 

The  only  impressions  known  are  from  the  cancelled  plate. 

98  “The  Swan,”  Chelsea.  M.  97.  Gr.  93.  W.  89. 

Height  2%.  Width  3%. 

99  FOSCO.  M.  98.  Gr.  94.  W.  90.  T.  73. 

Height  SYs.  Width  sVs- 

Lenox  Library. 

100  The  Model  Resting.  M.  ii8.  Gr.  91.  W.  87.  T.  80. 
Height  81/4.  W.  5y4. 

I.  Before  the  butterfly.  There  is  only  one  horizontal  line  at  the  right 
of  the  model’s  waist  and  four  at  the  left.  The  perpendicular  lines 
at  the  right  of  the  head  extend  to  the  top  of  the  shoulder  only. 
Lenox  Library. 

On  this  impression,  “1870”  is  in  Whistler’s  writing,  at  lower  right. 

36 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  There  are  eight  or  nine  horizontal  lines  on  each  side  of  the  girl,  and 
vertical  lines  are  added  in  the  upper  right  background,  which  extend 
to  below  the  left  shoulder.  H.  H.  Benedict. 

III.  In  the  background,  on  both  sides  of  the  head,  there  are  additional 
vertical  lines,  two  of  which  extend  almost  to  the  horizontal  lines 
at  the  waist.  The  butterfly  is  at  the  left,  half-way  up  the  plate. 
H.  Mansfield. 

IV.  Heavy  vertical  shading  is  above  the  head  and  at  left  of  the  figure, 
both  above  and  below  the  horizontal  lines. 

V.  Heavy  horizontal  lines  are  added  in  the  background,  on  each  side  of 
the  figure,  from  the  waist  to  the  shoulders. 

VI.  There  are  new  vertical  lines  in  the  left  background,  two  of  which 
touch  the  butterfly. 

VII.  The  heavy  horizontal  lines  (see  v)  have  been  reduced. 

From  an  impression  from  the  cancelled  plate. 

VIII.  An  attempt  was  made,  apparently,  to  restore  the  plate.  Horizontal 
lines  are  added  above  the  head,  also  in  the  background  at  right, 
below  the  knees. 

101  Portrait  Sketches.  M.  102. 

Height  11%.  Width  6%. 

The  only  impressions  known  are  from  the  cancelled  plate. 

102  F.  R.  Leyland.  M.  103.  Gr.  97.  W.  93. 

Height  11%.  Width  6%- 

I.  Before  the  heavy,  slightly  slanting  dry-point  lines  in  the  back¬ 
ground  at  the  left,  and  around  the  head  to  the  left  shoulder. 

H.  Mansfield. 

II.  With  the  work  mentioned  as  lacking  in  i.  Diagonal  lines  about  half 
an  inch  in  length  are  added  to  the  shading  under  the  left  hand  and 
wrist.  G.  W.  Vanderbilt. 


37 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


103  F.  R.  Leyland’s  Mother.  M.  104.  Gr.  loi.  W.  227. 

Height  9.  Width  6. 

I.  The  lines  of  shading  above  the  head  and  in  the  left  background 
are  vertical.  Haden  Collection. 

Not  reproduced. 

II.  There  are  slanting  lines  in  the  left  background.  H.  Mansfield. 

III.  The  face  is  modelled  clearly;  slanting  dry-point  lines  in  the  back¬ 
ground  run  around  the  head  from  shoulder  to  shoulder. 

J.  H.  Wrenn. 

104  Sketch  OF  Heads.  M.  ioi.  Gr.  122.  Sup.  366. 

Height  6.  Width  9. 

Reproduced  from  an  impression  from  the  cancelled  plate. 


105  The  Velvet  Dress.  M.  105.  Gr.  95.  W.  91.  T.  76. 

Height  9%.  Width  CVs- 

I.  There  are  fewer  lines  in  the  background  than  in  ii ;  there  is  a  blank 
space  over  the  top  of  the  head. 

II.  The  space  over  the  head,  as  far  as  the  cap,  is  now  filled  with  per¬ 
pendicular  lines,  hardly  any  of  which  reach  the  top  of  the  plate. 
There  are  new  lines  in  the  background  on  both  sides  of  the  figure, 
two  of  those  at  the  left  extending  to  and  below  the  butterfly. 
The  line  of  the  mouth  is  more  accented,  which,  with  the  work 
around  the  head,  has  produced  a  slight  change  of  expression. 

H.  H.  Benedict. 

III.  Five  lines  on  the  left  extend  below  the  butterfly;  the  short  upright 
lines  are  carried  around  the  cap,  and  the  lines  in  the  background 
are  lengthened.  E.  G.  Kennedy. 

IV.  Perpendicular  lines  are  added  over  the  head,  many  of  which  reach 
to  the  top  of  the  plate.  About  an  inch  below  the  butterfly,  several 

38 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


irregular  horizontal  lines  extend  from  the  dress  to  the  left  edge. 
Four  short  diagonal  lines  run  from  left  to  right  just  over  them, 
almost  directly  underneath  the  butterfly;  there  are  new  fine  lines  in 
the  right  background,  immediately  behind  and  touching  the  waist. 

V.  The  plate  is  completely  reworked  in  dry-point.  A  hat  is  now  on 
the  lady’s  head. 

106  The  Little  Velvet  Dress.  M.  io6.  Gr.  96.  W.  92. 

Height  6%.  Width  4%. 

I.  Before  the  horizontal  lines  in  the  background  at  the  left,  an  inch 
and  a  half  from  the  bottom;  there  is  a  white  space  just  in  front  of 
the  waist,  at  right.  H.  Mansfield. 

II.  Fine  horizontal  lines  are  in  the  background  at  left,  below.  Short 
vertical  lines  cover  the  space  in  front  of  the  waist.  Lenox  Library. 

107  The  Silk  Dress.  M.  115. 

Height  SVs.  Width  sVs- 

I.  Before  any  lines  in  the  background.  M.  Menpes. 

II.  There  are  vertical  lines  in  the  background,  and  additional  work 
on  the  skirt  of  the  gown,  which  is  lengthened  in  front. 

H.  H.  Benedict. 

108  Fanny  Leyland.  M.  107.  Gr.  98.  W.  94.  T.  77. 

Height  7%.  Width 

I.  Before  the  butterfly  and  before  any  background. 

Formerly  in  the  Hutchinson  Collection. 

II.  With  the  butterfly.  There  are  perpendicular  lines  behind  the  chair 
and  underneath  the  front  of  it,  also  to  the  left  of  the  butterfly. 

H.  Mansfield. 

Vertical  lines  are  added  under  the  seat  of  the  chair;  the  skirt  has 
been  lengthened  by  three  lines  at  the  right  of  the  feet  and  by  two 

39 


III. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


lines  at  the  front,  almost  at  right  angles,  one  of  which  crosses  the 
right  foot.  Lenox  Library. 

IV.  The  top  of  the  head  is  more  strongly  outlined,  and  the  feet  and  the 
two  lines  at  right  angles  are  almost  erased.  The  lines  behind  the 
figure  are  brought  down  further  to  the  leg  of  the  chair,  and  there 
are  more  lines  under  it,  two  of  them  forming  an  inverted  V. 

V.  There  are  a  few  new  lines  on  the  flounces  at  right. 

VI.  The  bosom  of  the  dress  and  the  hair  are  strongly  retouched.  There 
are  short  cross-lines  on  the  edge  of  the  cushion  of  the  chair,  and 
just  above  it;  also,  new  heavy  lines  on  the  skirt. 

109  Elinor  Leyland.  M.  io8.  Gr.  99.  W.  95.  Sup.  p.  36.  T.  78. 

Height  8%.  Width  51/2. 

I.  Before  the  butterfly.  E.  G.  Kennedy. 

II.  With  the  butterfly  in  outline.  H.  H.  Benedict. 

III.  Additional  lines  in  the  background  at  the  left  run  to  the  top  of  the 
plate.  Lenox  Library. 

IV.  The  butterfly  is  shaded ;  the  lines  of  the  legs  are  erased  or  obscured. 
New  horizontal  lines  run  to  the  right  from  below  the  left  elbow. 

V.  The  legs  are  redrawn;  additional  lines  are  in  the  left  background, 
below. 

VI.  Five  lines,  almost  horizontal,  run  from  the  lower  part  of  the  skirt, 
toward  the  right,  almost  under  the  butterfly;  new  short  lines  are 
added  to  the  right  edge  of  the  skirt.  /.  Caldwell. 

VII.  The  head  is  remodelled  and  oblique  lines  are  drawn  all  around  it, 
also,  to  and  below  the  elbow  at  left. 

1 10  Florence  Leyland.  M.  109.  Gr.  100.  W.  96. 

Height  8%.  Width  5%.  [Sup.  p.  36.  T.  79. 

I.  There  are  few  lines  in  the  background.  /.  H.  Wrenn. 


40 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  Additional  vertical  lines  are  in  the  left  background.  C.  Buckingham. 

III.  Long  fine  vertical  lines  have  been  added  in  the  left  background; 
the  expression  of  the  face  is  slightly  changed.  Lenox  Library. 

IV.  “I  am  Flo”  is  in  the  right  background;  the  toe  of  the  shoe  is  more 
square,  and  the  lines  above  the  head  are  closer  and  heavier. 

V.  The  left  background  is  reworked,  mostly  with  diagonal  lines.  There 
are  new  lines  in  the  upper  right  background;  the  feet  and  legs  are 
changed  again,  and  the  butterfly  is  shaded. 

From  a  badly  printed  impression. 

VI.  New  lines  in  right  background  reach  almost  to  the  butterfly;  there 
are  four  short  oblique  lines — from  right  to  left — in  extreme  left 
background,  two  and  a  half  inches  from  the  bottom. 

VII.  The  modelling  of  the  feet  and  leg  is  improved,  that  of  the  left  foot 
particularly. 

The  Lenox  Library  has  an  impression  which  is  drawn  upon. 

VIII.  An  attempt  appears  to  have  been  made  to  reduce  the  heavy  work 
on  the  plate,  particularly  in  the  upper  part. 

IX.  The  right  leg  is  outlined  by  a  broken,  heavy  line;  the  right  toe  is 
made  square,  and  there  is  new  work  on  the  left  foot. 

111  Reading  A  Book.  M.  ho.  Gr.  103.  W. 97. 

Height  5.  Width  3. 

I.  The  face  is  larger,  and  the  features  less  distinct  than  in  ii. 

II.  The  face  is  slightly  smaller,  and  the  features  sharper  than  in  i; 
there  are  new  vertical  lines  beneath  the  butterfly,  also  two  horizontal 
lines;  new  slanting  lines  are  at  the  left  edge  of  the  skirt. 

112  Tatting.  M.  hi.  Gr.  104.  W.  98. 

Height  5.  Width  3. 


41 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


1 13  The  Muff.  M.  112.  Gr.  130.  W.  126. 

Height  4%.  Width  2%. 

I.  Before  the  butterfly;  before  the  work  mentioned  in  ii. 

II.  The  butterfly  is  at  the  right,  and  there  are  a  few  short  horizontal 
lines  above  it;  to  the  left  of  the  right  arm,  the  horizontal  lines  are 
lengthened. 

III.  Short  slanting  lines  darken  the  background  at  the  left  near  the 
elbow,  and  at  upper  right. 

1 14  Maude,  Standing.  M.  113.  Gr.  105.  W.  99. 

Height  SVs.  Width  sVs. 

I.  Before  the  butterfly.  There  is  a  flounced  tippet  on  the  shoulders,  and 
only  a  few  lines  are  in  right  and  left  background.  The  edge  of  the 
skirt  is  clearly  defined  and  is  shorter  than  in  ii.  M.  Menpes. 

II.  The  background  is  almost  entirely  removed,  and  the  work  on  the 
body  and  arms  much  reduced.  A  simple  tippet  is  drawn  with  ink 
on  the  shoulders ;  the  left  sleeve  is  altered  and  shortened,  and  there 
are  lines  added  to  the  contour  of  the  skirt  in  front  and  the  edge 
below.  The  face  is  slightly  changed,  as  is  the  shading  on  it. 

M.  Menpes. 

III.  Most  of  the  lines  in  the  lower  background  have  been  removed ;  there 
is  more  work  on  the  face,  and  the  dress  and  background  have  been 
liberally  touched  with  ink.  H.  H.  Benedict. 

IV.  The  background  and  the  right  arm,  the  hand  of  which  rests  on  the 
hip,  with  the  arm  akimbo,  are  redrawn,  and  the  dress  is  heavily 
shaded.  Obach  &  Co. 

V.  A  “puff”  has  been  added  to  the  right  shoulder ;  the  work  on  the  face 
is  reduced;  new  heavy  lines  have  altered  the  train  of  the  skirt  at 
the  edge.  A.  W.  Scholle. 

VI.  There  are  retouches  here  and  there,  also  new  slanting  lines  under  the 
left  hand  and  across  the  back.  E.  L.  Knoedler. 


42 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


VII.  The  figure  has  been  burnished  out  and  partly  redrawn,  with  the 
addition  of  a  small  fur  tippet.  The  arrangement  of  the  skirt  is 
changed,  the  train  being  wider  and  more  sweeping,  and  the  contour 
of  the  toe  of  a  shoe  marks  the  edge  of  the  skirt  in  front.  There 
are  new  lines  in  the  background,  and  the  butterfly  is  at  the  right. 
H.  Mansfield. 

VIII.  The  skirt  of  the  gown  is  more  clearly  defined ;  three  strong,  slightly 
slanting  lines  cross  the  train,  an  inch  from  the  bottom  of  the  plate; 
the  background  has  been  partly  burnished  out  and  reworked.  The 
arms  are  redrawn  in  sepia.  T.  J.  Coolidge,  Jr. 

IX.  The  figure  and  background  are  reworked.  The  slanting  lines  have 
been  removed  from  the  train;  a  foot  has  been  drawn  in,  and  then 
almost  erased.  H.  H.  Benedict. 

X.  The  toe  is  entirely  burnished  out  and  replaced  by  another  in  delicate 
outline;  the  dark  shadow  made  by  the  fold  at  the  bottom  of  the 
dress  is  partly  erased.  H.  Mansfield.  [Detail.] 

XI.  The  work  all  over  the  plate  is  reduced,  where  it  is  not  taken  com¬ 
pletely  out.  There  are  new  vertical  lines  at  upper  right ;  a  series  of 
slanting  lines  in  the  left  background  touch  the  figure  below  the  waist, 
and  fine  lines  cross  the  right  fore-arm,  which  is  faint.  Obach  &  Co. 

XII.  The  face  is  slightly  redrawn;  the  background  is  covered  with  long 
diagonal  lines.  /.  Caldwell. 

This  impression  shows  that  the  plate  had  been  corroded.  It  was  prob¬ 
ably  thrown  aside  as  unsatisfactory,  and  then  taken  up  again,  with  this 
last  result. 

1 15  Maude,  Seated.  M.  114.  Gr.  106.  W.  100. 

Height  5%.  Width  4. 

I.  There  is  a  space  a  quarter  of  an  inch  wide,  below  and  to  the  right 
of  the  butterfly,  which  is  not  crossed  by  vertical  lines. 

Lenox  Library. 


43 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  space  mentioned  in  i  is  now  filled  with  vertical  lines. 

M.  Menpes. 

III.  The  head  is  redrawn  and  the  background  around  it  retouched  with 
heavy  dry-point  lines.  There  is  new  work  on  the  bosom. 

H.  Mansfield. 

This  plate  has  a  bevel  of  about  three  sixteenths  of  an  inch  all  around, 
outside  the  sizes  given. 


116  The  Beach.  M.  ioo.  Gr.  107.  W.  loi. 

Height  eVs.  Width  gVs. 

I.  Before  the  horizontal  lines  in  the  centre,  below  the  clothes  or  linen 
on  the  line.  Lenox  Library. 

II.  With  these  lines.  There  is  heavy  shading  on  the  houses  at  right  and 
on  the  clothes  on  the  line. 

On  the  Lenox  Library  impression,  in  Mr.  Avery’s  writing,  “His 
mother  there  at  the  time.”  The  locality  is  said  to  be  Hastings. 

1 17  Tillie:  A  Model.  M.  116.  Gr.  108.  W.  102. 

Height  gVs.  Width  6%. 

I.  The  butterfly  is  not  shaded.  Lenox  Library. 

II.  There  are  six  short  diagonal  lines  above  the  small  of  the  back. 

III.  The  butterfly  is  shaded;  there  are  four  short  upright  lines  behind 
the  back  of  the  head,  and  two  long  ones  to  the  left  of  it.  M.  Menpes. 

IV.  The  head  and  features  have  been  altered,  and  there  are  additional 
lines  in  the  background.  New  lines  suggest  the  right  foot. 

M.  Menpes. 

From  an  impression  washed  with  India  ink. 

“Tillie  Gilchrist”  and  “1873”  in  Whistler’s  writing,  on  the  Lenox  Li¬ 
brary  impression. 


44 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


118  Seated  Girl.  M.  117.  Gr.  no.  W.  103. 

Height  8.  Width  51/2. 

I.  Before  the  work  noted  in  ii.  Lenox  Library. 

II.  The  plate  is  reinforced  with  heavy  dry-point  lines;  below  the  left 
fore-arm  there  are  twelve  lines  instead  of  six.  H.  Mansfield. 

119  Resting.  M.  119.  W.  105. 

Height  4%.  Width  2%. 

120  Two  Slight  Sketches.  M.  127. 

Height  5%.  Width  3%. 

121  The  Model  Lying  Down.  M.  120.  W.  107. 

Height  7^.  Width  ii. 

Possibly  unique.  M.  Menpes. 

122  Two  Sketches.  M.  128.  W.  108. 

Height  7.  Width  5%. 

M.  Menpes. 

123  Nude  Woman  Standing.  M.  346.  Gr.  109.  Sup.  372. 

Height  8%.  Width  4%. 

H.  Mansfield. 

124  A  Child  on  a  Couch,  No.  l.  M.  121. 

Height  51/8.  Width  SYs. 

The  only  impressions  known  are  from  the  cancelled  plate. 

125  A  Child  on  a  Couch,  No.  2.  M.  122.  Gr.  114.  w.  112. 

Height  5%6.  Width  8%c. 

I.  Before  the  butterfly.  H.  Mansfield. 

Not  reproduced. 


45 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  same  as  i,  except  that  the  butterfly  is  added  at  upper  left. 
Lenox  Library. 

126  Nude  Girl  Reclining.  M.  123.  W.  113. 

Height  5%.  Width  8^. 

I.  The  plate  is  the  size  given.  M.  Menpes. 

II.  The  impression  is  cut  down  to  4%  x  7%  inches,  and  drawn  upon 
with  India  ink,  reducing  the  size  of  the  head  in  the  process. 

M.  Menpes. 

Probably  the  only  two  impressions  that  exist. 

It  is  doubtful  if  there  is  any  additional  etched  work  on  the  impression 
which  is  drawn  upon. 


127  Nude  Figure  Posing.  M.  124. 

Height  11%.  Width  7. 

The  only  impressions  known  are  from  the  cancelled  plate. 


128  Nude  Girl  Standing.  M.  125. 

Height  8%.  Width  6. 

The  only  impressions  known  are  from  the  cancelled  plate. 


129  Nude  Girl  WITH  Arms  Raised.  M.  126. 

Height  Width  sVs. 

The  only  impressions  known  are  from  the  cancelled  plate. 


130  A  Lady  wearing  a  Hat  with  a  Feather. 

Height  9.  Width  6. 


M.  129.  Gr.  120. 
[Sup.  364. 


46 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


Full-length  figure  of  a  lady  wearing  a  hat  with  a  feather,  facing 
to  the  right,  the  left  hand  resting  on  the  back  of  a  chair. 

Haden  Collection. 

A  dry-point  touched  with  crayon. 

Not  reproduced. 


131  A  Girl  with  Large  Eyes.  M.  130.  Gr.  121.  Sup.  365. 

Height  II.  Width  6. 

Reproduced  from  an  impression  from  the  cancelled  plate. 


132  Young  Woman  Standing.  M.  345.  Gr.  102.  Sup.  371. 

Height  8%.  Width  4%. 

H.  Mansfield. 

133  The  Desk.  m.  131.  Gr.  m.  w.  104. 

Height  8%.  Width  5%. 

I.  The  lines  in  the  right  background  are  carried  as  far  as  the  wrist 
only.  H.  Mansfield. 

II.  The  lines  in  the  right  background  run  below  the  hand;  some  of 
them,  running  from  the  left  top  of  the  head,  are  lengthened.  There 
is  a  diagonal  line  in  the  upper  left  corner.  M.  Menpes. 

III.  There  is  new  work  on  the  head  and  body,  and  horizontal  lines  are 
in  the  left  background,  etc.  The  diagonal  line  has  been  removed 
and  the  expression  of  the  face  slightly  changed. 

IV.  Part  of  the  work  on  the  head,  eyes,  and  left  background  is  reduced ; 
there  is  new  work  on  the  skirt  of  the  gown,  and  the  contour  of  the 
front  of  it  is  expressed  by  heavy  lines.  The  head  is  slightly 
smaller. 


47 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


134  Agnes.  M.  132.  Gr.  112.  w.  106. 

Height  878.  Width  578- 

I.  The  effect  is  clear  and  crisp;  before  the  additional  work  described 
in  II.  H.  Mansfield. 

II.  There  are  vertical  lines  in  the  background  above  and  on  both  sides 
of  the  head.  A  number  of  short  diagonal  lines  run  from  the 
right  shoulder;  the  lines  on  the  face  and  upper  part  of  the  dress 
are  confused  or  “woolly.”  H.  S.  Theobald. 

There  is  said  to  be  an  intermediate  state,  but  I  have  not  seen  it. 

135  The  Boy.  M.  133.  Gr.  113.  W.  109. 

Height  8Va.  Width  578- 

I.  Before  the  butterfly;  before  any  lines  above  the  head. 

Haden  Collection. 

Not  reproduced. 

II.  With  the  butterfly;  there  are  short  vertical  lines  over  the  boy’s 
head.  M.  Menpes. 

III.  Vertical  lines  are  on  each  side  of  and  below  the  butterfly;  a  new 
row  of  short  upright  irregular  lines  is  over  the  head,  and  slanting 
lines  are  on  the  right  knee.  H.  Mansfield. 

IV.  A  few  new  oblique  lines  run  from  behind  the  head,  at  right. 

v.  A  number  of  short,  almost  horizontal  lines  cross  the  angular  white 
space  in  the  existing  shading  in  lower  right  background. 

VI.  A  dozen  or  less,  heavy,  vertical  dry-point  lines  strengthen  the  shad¬ 
ing  to  the  right  of  the  top  of  the  head. 

VII.  The  lines  over  the  head  are  retouched;  a  new  series  of  short  hori¬ 
zontal  lines  run  from  the  head  and  chest,  in  the  left  background; 
zigzag  lines  in  the  right  background  run  from  the  head  to  the 
bottom  of  the  plate ;  there  is  new  work  on  the  body  and  legs. 

This  impression  is  slightly  drawn  upon. 

48 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


VIII.  In  part  of  the  plate,  the  marks  of  the  burnisher  are  noticeable;  the 
plate  is  much  worn. 

136  Swinburne.  M.  134.  W.  no. 

Height  II.  Width  7%. 

I.  The  face  is  now  that  of  Leyland,  who  commissioned  Whistler  to 
paint  the  “Peacock  Room.”  Obach  &  Co. 

II.  The  face  is  altered  to  that  of  Swinburne  by  the  addition  of  heavy 
lines  around  the  head,  mouth,  etc. ;  new  lines  in  the  left  background 
and  oblique  lines  in  the  right  background  extend  further  down  the 
plate.  Obach  &  Co. 

That  Whistler  originally  intended  this  dry-point  as  a  portrait  of  F.  R. 
Leyland,  is  quite  plain.  Possibly  after  the  famous  quarrel,  he  altered  it 
to  that  of  Swinburne — not  very  successfully.  Both  impressions  are  ex¬ 
tremely  rare. 

137  A  Man  Reading.  M.  136. 

Height  II.  Width  7%. 

The  only  impressions  known  are  from  the  cancelled  plate. 

138  A  Lady  AT  A  Window.  M.  135.  W.  in. 

Height  gVs-  Width  6^. 

I.  The  gown  is  almost  in  outline.  There  are  only  about  a  dozen 
broken  lines  above  the  head.  Before  the  butterfly.  M.  Menpes. 

II.  The  gown  is  covered  with  lines;  there  is  a  suggestion  of  a  table  in 
the  right  background ;  additional  lines  over  the  head.  H.  Mansfield. 

III.  The  butterfly  is  in  the  right  background;  new  work  all  over  the 
plate.  M.  Menpes. 

The  skirt  of  the  gown  is  clearly  outlined,  and  there  are  cross-lines 
behind  it,  suggesting  a  shadow.  There  is  elaborate  work  on  the 

49 


IV. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


bosom  and  on  the  hat;  horizontal  lines  at  upper  left,  and  other 
touches  here  and  there. 

From  an  impression  from  the  cancelled  plate. 

139  Miss  Alexander.  M.  137. 

Height  8%.  Width  5%. 

A  girl,  whose  hair  falls  upon  her  shoulders,  is  seated  in  an  arm¬ 
chair  and  faces  to  the  right.  There  is  no  signature. 

Not  reproduced. 

140  The  Guitar  Player.  M.  138.  Gr.  126.  W.  122. 

Height  10%.  Width  7. 

I.  There  is  no  shading  in  the  background  at  the  right,  except  above 
the  shoulder.  A.  W.  Scholle. 

II.  The  shading  in  the  background  at  the  right  extends  as  far  as  the 
knees.  /.  T.  Pollitt. 

III.  The  horizontal  lines  in  the  left  background  are  extended  to  the 
knees,  and  there  is  new  work  on  the  coat,  trousers,  and  right  back¬ 
ground.  Vertical  lines,  from  right  to  left,  reach  the  centre  of  the 
head.  Bryan  Lathrop. 

IV.  Lines  are  added  above  the  head,  to  the  left,  and  heavy  diagonal  lines 
underneath  the  left  hand  on  the  guitar.  Printed  with  a  heavy  tint. 
/.  Caldwell. 

V.  There  are  additional  lines  above  and  on  each  side  of  the  head; 
other  minor  changes.  H.  Mansfield. 

141  The  Piano.  M.  139.  Gr.  118.  w.  117. 

Height  gVs.  Width  6^4- 

I.  Before  the  butterfly;  there  are  scarcely  any  lines  in  the  background. 
C.  Buckingham. 


50 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  Vertical  lines  in  the  background  are  above  and  on  each  side  of  the 
head;  there  is  more  work  on  the  skirt  of  the  gown,  and  there  are 
vertical  lines  to  the  left  of  the  knees.  Cross-lines  at  right  suggest 
a  piano-stool.  Lenox  Library. 

III.  The  butterfly  is  at  the  left;  there  are  six  additional  vertical  lines 
under  the  fore-arm,  and  there  is  closer  work  in  the  background  at 
right  and  above  the  head.  H.  H.  Benedict. 

IV.  Six  additional  vertical  lines  are  to  the  left  of  the  knee. 

V.  The  background  has  been  heavily  retouched ;  there  are  a  dozen  short 
vertical  lines  about  an  inch  above  the  butterfly,  and  the  same  num¬ 
ber  in  lower  right  background,  below  the  piano-stool.  H.  Mansfield. 

VI.  The  heavy  background  in  the  upper  part  of  the  plate  has  been  re¬ 
duced.  A  series  of  fine  diagonal  lines  in  the  right  background  runs 
between  the  shoulder  and  the  waist.  Slanting  lines  partly  cross 
the  left  sleeve  at  the  elbow.  H.  H.  Benedict. 

On  an  impression  in  Mr.  Benedict’s  collection,  “Miss  Tinnie  Greaves,” 
is  in  Whistler’s  writing,  apparently. 


142  The  Scotch  Widow.  M.  140.  Gr.  119.  W.  118. 

Height  7^%6-  Width 

143  Speke  Hall,  No.  2.  M.  141.  Gr.  90.  Sup.  269. 

Height  6Vs.  Width  iiWw. 

I.  As  reproduced. 

II.  There  are  six  slightly  indicated  figures  in  the  foreground,  playing 
a  game,  apparently.  Haden  Collection. 

Not  reproduced. 

On  the  impression  in  the  Lenox  Library  the  butterfly  is  in  pencil; 
“1875”  follows  after  it,  but  not  in  Whistler’s  writing. 

51 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


144  Speke  Shore.  M.  142.  Gr.  123.  W.  119. 

Height  6.  Width  9. 

I.  Before  the  veil  on  the  hat ;  there  is  a  white  space  about  half-way  up 
the  ridge  of  the  hill.  H.  Mansfield. 

II.  About  twenty  short,  almost  vertical  lines  partly  shade  the  white 
space  mentioned  in  i.  The  woman’s  hat  has  drapery,  or  a  veil,  fly¬ 
ing  from  it,  and  a  few  short  lines  shade  the  trunk  of  the  tree  below 
the  signboard,  at  upper  left.  H.  H.  Benedict. 

III.  Two  series  of  heavy  lines  are  added  on  the  white  space  mentioned 
in  II.  H.  H.  Benedict. 

IV.  At  upper  left,  just  below  and  to  the  left  of  the  signboard  on  the 
tree,  six  short,  irregular  lines  have  been  added  to  those  already 
there.  There  are  a  dozen  short,  almost  perpendicular  lines  under 
the  little  knoll  on  the  hill,  three  and  one  quarter  inches  from  the 
right  edge  of  the  plate,  and  new  short  oblique  lines  in  the  scrub 
below  and  to  the  left  of  the  knoll,  one  series  helping  to  form  a  seg¬ 
ment  of  a  circle.  A  few  heavy  dry-point  lines  are  added,  immedi¬ 
ately  in  front  of  the  woman.  M.  Menpes. 

145  The  Dam  Wood,  M.  143.  Gr.  124.  W.  120. 

Height  7.  Width  4%. 

I.  Before  the  butterfly.  The  lines  in  the  immediate  foreground  are 
not  clearly  expressed.  H.  H.  Benedict. 

II.  The  shadow  of  the  tree  at  the  right  is  accented  by  short  diagonal 
lines,  also  the  shadows  in  the  immediate  foreground;  there  is  a 
series  of  short,  slightly  slanting  lines  between  the  trees  at  the  left, 
about  one  and  three  quarters  inches  from  the  bottom.  Other  minor 
changes.  M.  Menpes. 

III.  New  lines  above  and  to  the  left  of  the  butterfly,  which  is  at  the 
right ;  also  behind  the  trunks  of  the  trees  at  left,  and  in  the  sky  above. 

On  the  impression  in  the  Lenox  Library,  in  Whistler’s  writing,  “Near 
Speke.” 


52 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


146  Shipbuilder’s  Yard.  M.  144.  Gr.  125.  w.  121. 

Height  10%.  Width  5%. 

I.  There  is  a  figure  of  a  man  in  the  foreground.  Lenox  Library. 

II.  The  figure  is  nearly  burnished  out,  and  the  sky  is  strengthened  at 
the  left.  H.  Mansfield.  [Detail.] 

III.  A  number  of  short  vertical  lines  cross  the  figure,  which  is  now  faint. 
The  outer  line  of  the  butterfly  is  redrawn ;  there  is  a  main  upper  top¬ 
sail  yard  on  the  ship  nearest  to  the  spectator,  and  high  masts  are 
on  the  vessel  next  to  it,  at  the  right,  and  on  the  ships  in  the  extreme 
left  distance.  More  smoke  issues  from  the  steamer  at  right. 

C.  Buckingham. 


147  The  Little  Forge.  M.  145.  Gr.  116.  W.  115. 

Height  8%.  Width  5%. 

I.  The  head  of  the  man  at  left  is  shorter  than  in  ii,  and  the  ear  is  not 
indicated.  The  lines  on  the  ceiling,  at  left,  are  washed  in,  and  the 
work  on  the  bench  and  window  (mentioned  in  the  next  state)  is 
lacking. 

II.  A  number  of  short,  upright,  light  dry-point  lines  have  been  added 
on  the  left  of  the  edge  of  the  window-sill,  and  eight  short,  thick  ver¬ 
tical  lines  on  the  edge  of  the  bench  at  extreme  left.  The  head  is 
more  shapely  and  the  ear  is  indicated.  Below,  and  slightly  to  the 
left  of  the  man  at  the  bench,  is  a  series  of  slanting,  irregular  dry- 
point  lines;  also,  some  of  the  lines  of  the  shadow  of  the  man  at  the 
anvil  are  extended. 

III.  The  space  one  quarter  of  an  inch  above  the  man  standing  at  right 
is  now  covered  with  lines. 

IV.  Six  short,  heavy,  irregular  vertical  dry-point  lines  are  added  on  the 
sill  of  the  window,  at  the  left ;  the  suspenders  of  the  man  at  the  bench 
are  expressed  by  double  lines,  and  there  are  new  short  dry-point 

53 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


lines  on  his  upper  arm.  The  faces  and  figures  of  the  two  men 
standing  upright  are  redrawn. 

V.  There  is  more  work  on  the  stooping  man,  vaguely  indicated,  at  ex¬ 
treme  right,  and  light  vertical  lines  above  him;  light  touches  here 
and  there. 

VI.  The  butterfly  is  at  lower  left.  The  tree  in  the  window  is  larger; 
there  are  delicate  vertical  lines  between  the  left  arm  and  the  anvil, 
and  between  the  legs  of  the  standing  man,  at  right ;  the  lines  of  the 
beam  are  carried  out  to  the  left  edge  of  the  plate,  and  some  of  the 
work  over  the  heads  of  the  men  has  been  burnished  out.  The  figure 
at  extreme  right  appears  to  be  seated. 

VII.  A  tree  has  been  developed  from  the  skeleton  trees  at  the  right  of 
the  large  tree,  which  has  new  branches. 

VIII.  The  plate  has  been  retouched  over  the  head  of  the  stooping  man  at 
right,  under  the  arm  of  the  man  at  the  anvil,  on  the  anvil  itself, 
etc. ;  also,  broken  horizontal  lines  are  on  the  wall,  at  the  right  of  the 
window. 

On  the  early  state  in  the  Lenox  Library,  “The  Little  Forge,  Liver¬ 
pool,”  is  in  Whistler’s  writing. 

148  Two  Ships.  M.  146.  Gr.  117.  w.  116. 

Height  SVs.  Width  sYs. 

I.  The  subject  is  etched  in  outline.  G.  Mayer. 

II.  There  is  additional  work  all  over  the  plate. 

III.  The  hulls  of  the  two  vessels  are  now  heavily  shaded,  also  the  bul¬ 
warks,  which  were  almost  white  in  ii;  the  small  boat  is  cross- 
hatched  on  the  side,  and  the  reflections  in  the  water  are  more  posi¬ 
tive,  darkening  the  space  between  the  two  ships. 

149  Steamboats  off  the  Tower.  M.  147.  Gr.  115.  w.  114. 

Height  6.  Width  8%. 


54 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


I.  Before  the  long  boat  in  the  foreground  was  divided  into  two  boats. 
There  is  no  moon.  Lenox  Library. 

II.  The  boat  in  the  foreground  is  divided  into  two  boats  by  a  single 
stroke.  There  are  two  additional  curved  lines  over  the  bow  of  the 
foremost  boat,  and  the  moon  appears  at  the  right.  H.  B.  Livingston. 

III.  There  are  several  new  diagonal  lines  at  the  division  of  the  boats; 
the  funnels  of  the  steamers  are  shaded  with  horizontal  lines,  and 
the  reflections  of  the  vessels  in  the  water  are  stronger.  More  work 
all  over  the  plate.  H.  Mansfield. 

On  the  early  impression  in  the  Lenox  Library,  in  Whistler’s  writing, 
is  “Custom  House  Wharf.’’  On  the  later  state,  “From  the  Custom 
House,  Thames.” 


150  The  White  Tower.  M.  148.  Gr.  132.  w.  128. 

Height  3%.  Width  7%. 

151  Sketch  OF  Ships.  M.  48.  Gr.  131.  W.  127.  T.  84. 

Height  6.  Width  8%. 

152  The  Troubled  Thames.  M.  149.  W.  129. 

Height  41/2.  Width  878- 

I.  The  buildings  do  not  reach  the  sides  of  the  plate.  M.  Menpes. 

II.  The  buildings  extend  completely  across  the  plate.  Two  clusters  of 
lines,  possibly  part  of  a  derrick,  appear  at  left,  also  a  few  horizontal 
lines  over  the  houses  in  the  centre.  The  space  between  the  two 
chimneys,  three  inches  from  the  right,  is  almost  white. 

H.  H.  Benedict. 

III.  The  space  between  the  two  chimneys  is  now  covered  with  horizon¬ 
tal  lines,  and  there  are  new  short  slanting  lines  on  the  lighter,  or 
barge,  at  left.  The  late  Sir  John  C.  Day. 

55 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


153  London  Bridge.  M.  150.  Gr.  127.  W.  123. 

Height  dVs.  Width  9%. 

I.  Before  the  butterfly.  The  men  in  the  boat  in  the  foreground  are 
in  outline;  the  bridge,  underneath,  is  shaded  with  short  parallel 
lines.  H.  Mansfield. 

II.  The  side  of  the  boat  and  the  two  men  in  it  are  partly  shaded;  the 
bridge,  underneath,  is  further  shaded  by  long  sweeping  lines,  except 
at  the  right ;  more  work  in  the  sky,  and  also  on  the  houses. 

H.  H.  Benedict. 

III.  The  butterfly  is  at  lower  right ;  closer  work  under  the  bridge,  at  right 
and  left.  H.  Mansfield. 

IV.  There  is  additional  shading  on  the  boat  in  the  foreground;  the 
bow  of  the  small  boat  at  the  right  is  shaded  with  short  vertical, 
parallel  lines. 

V.  On  the  boat  containing  the  two  men,  all  the  lines  of  shading  now 
reach  the  gunwale.  Lenox  Library. 

154  Price’s  Candle-Works.  M.  151.  Gr.  128.  W.  124. 

Height  5%.  Width  8%. 

I.  Before  the  butterfly.  The  sailboat  has  a  mainsail  only;  a  rowboat 
and  four  men  in  it  are  lightly  indicated  in  the  foreground. 

G.  W.  Vanderbilt. 

II.  The  mainsail  is  now  completely  shaded,  the  mast  is  extended  and 
has  a  topsail,  and  there  is  a  man  on  the  stern  of  the  barge,  which 
has  additional  shading,  as  have  the  sailboat,  trees,  bridge,  etc. 

H.  Mansfield. 

III.  The  boats  in  the  foreground  have  been  burnished  out,  also  the  fac¬ 
tory,  which  has  been  redrawn;  the  sails  of  the  boat  are  enlarged, 
and  the  mast,  at  top  of  which  a  pennant  is  flying  to  the  right,  has 
been  extended.  There  is  a  strong  reflection  of  the  boat  in  the  water; 

56 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


the  contour  of  the  barge  has  been  changed,  and  there  is  a  sailboat,  or 
barge,  near  the  bridge.  The  butterfly  is  below,  at  the  right. 

H.  S.  Theobald. 

IV.  The  mainsail  is  heavily  shaded ;  there  is  more  work  on  the  buildings, 
and  under  the  arches  of  the  bridge.  H.  Mansfield. 

Mr.  W.  Dowdeswell  says  that  there  were  six  states  of  this  plate  in  the 
Hutchinson  collection,  two  of  them  between  the  ii  and  in  of  this  cata¬ 
logue.  In  one,  the  pennant  flew  to  the  right,  the  end  of  it  whipping 
back  to  the  left.  In  the  other,  the  pennant  flew  to  the  right,  and  the 
boat  and  figures  were  removed.  I  have  not  seen  these  impressions. 

155  Battersea:  Dawn.  M.  152.  Gr.  129.  W.  125. 

Height  5%.  Width  8%. 

I.  Before  the  work  described  in  ii.  C.  Buckingham. 

II.  Perpendicular  lines  are  now  on  the  bow  of  the  steamer  at  the  left 
and  on  the  side  of  the  steamer  at  the  right.  The  foremost  boat 
in  the  right  foreground,  seen  sideways,  is  shaded  with  short  di¬ 
agonal  lines,  running  from  right  to  left. 

III.  The  side  of  the  shed  at  right  is  expressed  by  vertical  lines;  fine 
diagonal  lines,  from  left  to  right,  cross  the  building  in  centre. 

/.  H.  Wrenn. 

IV.  The  vessel  in  the  centre,  just  under  the  factory,  is  shaded  with 
short  diagonal  lines  running  from  right  to  left,  and  the  flagstaff 
at  the  stern  is  reflected  in  the  water;  the  flag  on  a  boat  at  the  left 
now  measures  three  quarters,  instead  of  half  an  inch. 

C.  W.  Kraushaar. 

156  Steamboat  Fleet.  M.  153.  Gr.  236.  W.  223. 

Height  5%.  Width  8%. 

I.  Before  the  work  described  in  ii.  H.  S.  Theobald. 

There  are  new  lines  in  the  sky;  the  gasometer-like  structure  in  the 

57 


ii. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


centre  is  reduced  from  three  eighths  of  an  inch  in  width  to  one 
quarter;  further  to  the  right,  at  the  end  of  the  hulk,  a  space  of 
one  quarter  of  an  inch  is  burnished  out;  there  is  work  added  on 
the  buttress  of  the  bridge  at  right,  and  the  upper  rail  of  the  steamer 
at  left  has  been  almost  entirely  removed.  H.  Mansfield. 

157  The  Sail.  m.  154. 

Height  81/4.  Width  5V4. 

The  butterfly  was  drawn  by  Whistler  on  this  impression,  after  it  was 
purchased  from  Mr.  Macgeorge. 

158  Fishing-Boats,  Hastings,  m.  155.  Gr.  134.  w.  131. 

Height  6.  Width  lo. 

I.  With  the  small  faint  butterfly;  before  the  work  mentioned  in  ii. 
H.  Mansfield. 

II.  A  large  butterfly — shaded— now  covers  the  small  one;  there  are 
faint  horizontal  dry-point  lines  three  quarters  of  an  inch  below  it, 
and  a  few  additional  lines  in  the  sky,  at  left.  C.  Buckingham. 

III.  The  delicate  dry-point  lines  in  the  sky  and  below  the  butterfly 
are  almost  entirely  worn  away.  The  butterfly,  which  was  becom¬ 
ing  faint,  is  covered  by  another  in  outline.  H.  Mansfield. 

159  Wych  Street.  M.  156.  Gr.  135.  W.  132. 

Height  8%.  Width  5%. 

I.  A  large  lamp  shows  clearly  in  the  distance,  and  there  are  two 
slanting  lines  in  the  sky,  at  the  right  of  the  second  gable. 

B.  Lathrop. 

II.  The  large  lamp  has  disappeared,  possibly  worn  away.  The  two 
slanting  lines  have  been  erased.  Lenox  Library. 

This  impression  had  to  be  photographed  in  a  side  light,  in  the  Library, 
and  as  it  was  slightly  wrinkled  or  “cockled,”  the  black,  wavy  marks  at 
the  top,  in  the  reproduction,  are  the  result. 

58 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


160  Little  Smithfield.  M.  157.  Gr.  81.  W.  78. 

Height  5V4.  Width  3%. 

Lenox  Library. 

The  butterfly  is  drawn,  not  etched,  on  this  impression. 

161  Sketch  of  Houses.  M.  158. 

Height  GVs.  Width  9. 

From  an  impression  formerly  in  the  Theobald  Collection. 

162  Temple  Bar.  M.  159.  W.  133. 

Height  8%.  Width  5%. 

I.  A  sketch  in  outline.  M.  Menpes. 

II.  The  centre  is  more  fully  expressed.  M.  Menpes. 

III.  The  “Bar”  is  completed  and  the  plate  is  bitten  in.  A  horse  and  cart 
are  at  the  left,  and  there  is  a  horse  in  the  right  foreground. 

M.  Menpes. 

163  Free  Trade  Wharf.  M.  160.  Gr.  136.  W.  134. 

Height  3%.  Width  yVi. 

I.  Before  the  butterfly;  before  the  horizontal  lines  in  the  sky  behind 
the  shipping.  R.  Gutekunst. 

II.  Before  the  butterfly;  with  the  horizontal  lines  in  the  sky. 

Lenox  Library. 

III.  Additional  horizontal  lines  are  in  the  sky,  also  short  dry-point  lines 
near  the  top  at  left.  The  barge  at  left  centre  has  been  removed,  and 
the  butterfly  is  at  the  left,  below.  New  work  all  over  the  plate. 
Lenox  Library. 

IV.  The  short  dry-point  lines  at  left  top  have  been  erased;  new  short 
slanting  dry-point  lines  are  above  the  high  warehouse  at  right. 
Royal  Collection,  Windsor. 


59 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


V.  The  sky  has  been  removed,  except  a  broken  etched  line  toward  the 
top. 

Published  by  The  Fine  Art  Society,  London,  in  1879. 


1 64  Lord  WOLSELEY.  M.  l66.  Gr.  140.  W.  138. 

Height  11%.  Width  6%. 

I.  The  vertical  lines  in  the  background  at  top  reach  only  half-way 
around  the  head,  and  the  shading  at  the  left  does  not  go  below  the 
shoulder.  M.  Menpes. 

II.  The  lines  above  the  head  are  extended  beyond  the  forehead,  and 
there  is  further  shading  in  left  background  from  the  eyes  to  the 
elbow.  W.  V.  Kellen. 

III.  There  is  more  shading  in  the  background,  especially  at  the  left.  A 
number  of  lines  form  what  appears  to  be  a  tuft  of  hair  above  the  fore¬ 
head.  [Detail.] 

IV.  The  shading  in  the  right  background,  which,  heretofore,  reached 
only  to  the  shoulder,  is  carried  below  it.  H.  Mansfield. 


165  The  Thames  Towards  Erith.  m.  161.  Gr.  137.  w.  135. 

Height  5%.  Width  878. 

I.  The  boats  in  the  left  foreground  are  not  shaded.  The  square  sail 
on  the  boat  in  the  middle  distance,  at  the  left,  is  only  slightly  shaded 
with  delicate  vertical  lines.  The  mast  of  the  boat  in  the  centre  is 
only  one  and  one  quarter  inches  in  length.  H.  Mansfield. 

II.  A  series  of  diagonal  lines  in  the  sky  extends  from  the  centre  to  the 
extreme  left,  and  there  is  another  series  over  the  shed  at  extreme 
right.  The  sail  of  the  large  boat  in  left  middle  distance  is 
changed  in  form  and  more  heavily  shaded,  and  the  boat  just  in  front 
of  it  has  been  removed.  The  sides  of  three  of  the  rowboats  are 

60 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


slightly  shaded  by  short  diagonal  lines,  and  the  second  man  in  the 
nearest  one  is  more  fully  defined.  Other  minor  additions. 

C.  Buckingham. 

III.  The  side  of  the  rowboat  in  the  immediate  foreground  is  shaded  by 
short,  slightly  slanting  lines,  except  an  inch  in  the  centre ;  there 
is  additional  shading  on  the  next  rowboat,  the  mast  of  which  is  now 
solid  at  the  base,  instead  of  being  indicated  by  two  delicate  lines 
as  in  I  and  ii.  W.  B.  Dickerman. 

Not  reproduced. 

IV.  The  same  as  iii,  except  that  the  side  of  the  large  rowboat  is  now 
entirely  shaded. 


166  Lindsey  Houses.  M.  162.  Gr.  138.  W.  136. 

Height  5%.  Width  878- 

I.  There  are  white  spaces  in  the  centre  of  the  clump  of  bushes ;  the  top¬ 
mast  at  right  is  expressed  by  a  thick  broken  line.  H.  H.  Benedict. 

II.  Slanting  lines  cover  the  spaces  on  the  bushes  which  are  white  in  i. 
The  lines  on  the  doorway  of  the  second  house  from  the  right  have 
been  reduced,  or,  more  probably,  worn.  H.  Mansfield. 

III.  The  line  expressing  the  topmast  is  slight  and  unbroken,  and  there 
are  two  thin  stays  at  the  left  of  it.  New  lines  have  strengthened 
the  reflections  in  the  water,  and  cross-lines  are  added  on  the  chim¬ 
ney  of  the  house  at  the  right. 

For  the  proper  spelling  of  Lindsey,  see  “Reliques  of  Old  London,  by 
T.  R.  Way  &  H.  B.  Wheatley.” 

167  From  Pickle-Herring  Stairs.  M.  163.  Gr.  139.  W.  137. 

Height  sVs.  Width  8%. 

I.  Before  the  heavy  dry-point  lines  in  the  sky.  7.  P.  Elton. 

6l 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  There  are  new  lines  in  the  water,  to  the  left  of  and  in  line  with  the 
butterfly.  The  sky  is  reinforced  by  dry-point  lines,  including  seven 
which  are  horizontal,  at  upper  left.  Half  the  boat  in  the  foreground 
is  shaded  with  short  oblique  lines.  H.  S.  Theobald. 

III.  The  sky  is  further  reinforced  by  new  work,  and  the  smoke  from  the 
steamers  made  denser;  the  shadows  from  the  vessels  at  the  right 
are  increased,  and  the  two  boats  in  the  foreground  are  shaded  by 
short  oblique  dry-point  lines.  H.  H.  Benedict. 

IV.  There  are  additional  lines  in  the  sky  over  and  behind  the  shipping  at 
the  right;  the  side  of  the  boat  to  the  left  of  the  two  men  in  the  row¬ 
boat  is  shaded  with  almost  perpendicular  lines.  H.  Mansfield. 

v.  The  shed  at  the  right  is  shaded  by  vertical  lines.  /.  Caldwell. 

VI.  At  the  right,  the  short  horizontal  lines  which  run  toward  the  left 
from  the  high  topmast,  and  some  of  the  short  slanting  lines  between 
the  other  masts,  have  been  removed.  M.  Menpes.  [Detail.] 

168  A  Sketch  from  Billingsgate.  M.  164.  Gr.  133.  w.  130. 
Height  5%.  Width  8%. 

I.  Before  the  two  figures  at  lower  right  corner,  the  large  mast  in  the 
centre,  with  pennant,  and  the  extension  of  the  mast  at  extreme  right 
and  the  pennant  on  it.  The  houses  in  the  distance  are  expressed  by 
vertical  lines  only;  at  the  left,  two  masts  and  yards  of  an  earlier 
drawing  are  nearly  erased.  Before  the  butterfly.  M.  Menpes. 

II.  The  figpires,  masts,  etc.,  are  now  drawn  in;  there  are  figures  on 
the  deck  of  the  ship  and  on  the  wharf,  which  is  extended  almost 
to  the  right  edge ;  horizontal  lines  are  on  two  of  the  houses  in  the 
centre.  M.  Menpes. 

III.  The  two  faint  yards  and  masts  at  the  left  are  entirely  erased ;  short 
cross-lines  shade  the  sides  of  all  the  boats  in  the  centre;  there  are 
two  stays,  one  partly  expressed,  running  from  the  end  of  the  bow- 

62 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


sprit  toward  the  topmast.  There  is  shading  in  the  water  at  the 
left  and  in  the  centre,  by  the  side  of  the  barge,  and  delicate  hori¬ 
zontal  dry-point  lines  in  the  sky  behind  the  masts  in  the  distance. 

IV.  The  sides  of  the  barges  in  the  right  foreground  are  now  shaded. 
Cargo  is  indicated  in  the  one  at  left,  on  the  bow  of  which  stands  a 
larger  man  than  in  iii.  The  reflections  in  the  foreground  are 
lengthened ;  the  dock  and  houses  under  the  bowsprit  are  more  clearly 
defined,  and  the  butterfly  is  at  lower  right.  H.  Mansfield. 

V.  The  figure  on  the  barge  is  again  changed,  and  is  taller;  several  short 
slanting  lines  are  added  in  front  of  the  men  at  right  corner,  and 
there  is  new  shading  on  the  boats  at  left.  The  stay,  which  runs 
from  the  extreme  end  of  the  bowsprit  to  the  top  of  the  plate,  is 
partly  erased.  Lenox  Library. 

VI.  The  stay  is  now  clearly  expressed,  in  part  by  double  lines. 

M.  Menpes. 

169  St.  James’s  Street,  m.  165.  Gr.  141.  w.  140. 

Height  loVs.  Width  6%. 

I.  The  plate  measures  6%  inches  in  width.  Before  the  butterfly. 

H.  S.  Theobald. 

II.  There  are  clouds  near  the  left  upper  corner.  W.  Dowdeswell. 

Not  reproduced. 

III.  The  butterfly  is  at  the  left  lower  corner.  W.  Dowdeswell. 

Not  reproduced. 

IV.  The  plate  has  been  reduced  an  inch  at  the  right,  and  the  clouds 
have  been  removed.  Height  10%.  Width  5%. 

A  reproduction  of  the  last  state,  in  reverse,  was  published  in  “Vanity 
Fair,”  London,  1878. 


63 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


170  Irving  as  Philip  of  Spain,  No.  l.  M,  167.  W.  139. 

Height  9.  Width  6. 

I.  The  background  at  the  right  is  formed  of  vertical  lines  only. 
M.  Menpes. 

II.  The  figure  has  been  partly  erased;  two  series  of  diagonal  lines  run 
around  the  head  from  shoulder  to  shoulder.  M.  Menpes. 

III.  Additional  work  in  the  background  at  the  left  has  been  carried  below 
the  knees.  The  figure  has  been  remodelled,  nearly  altogether  by 
“wash.” 

It  is  impossible  to  say  which  of  the  two  plates  of  Philip  was  etched 
first.  Neither  of  them  was  completed,  but  this  one  is  given  priority,  as 
it  is  a  little  more  rigid  than  the  other  and  less  successful  as  a  portrait. 

171  Irving  as  Philip  of  Spain,  No.  2.  M.  i68.  W.  139. 

Height  9.  Width  6. 

I.  Before  the  extra  lines  at  the  left  foot.  M.  Menpes. 

II.  The  impression  is  touched  with  ink.  There  are  new  lines  at  the  left 
ankle.  H.  S.  Theobald. 

III.  The  lines  in  the  left  background  are  carried  down  almost  to  the 
ankle.  Three  new  dry-point  lines  at  the  left  foot  take  the  place  of 
those  mentioned  in  ii,  which  have  been  erased.  M.  Menpes. 

IV.  There  are  additional  lines  in  the  left  and  right  background  and  be¬ 
tween  the  legs.  M.  Menpes. 

172  Whistler  with  the  White  Lock.  m.  169.  Gr.  143.  W.  142. 

Height  4%.  Width  31/8. 

173  The  Tiny  Pool.  M.  170.  Gr.  76.  W.  73. 

Height  3%.  Width  2%. 

I.  Before  the  butterfly.  There  are  no  short  vertical  lines  on  the  barge 

64 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


in  the  foreground,  nor  short  horizontal  lines  to  the  right  of  the 
barge  between  the  posts.  H.  Mansfield.  Lenox  Library. 

II.  With  the  lines  mentioned  as  lacking  in  i.  The  butterfly  is  at  lower 
right.  H.  H.  Benedict. 

III.  There  is  additional  work  all  over  the  plate  except  on  the  butterfly, 
which  is  now  much  worn,  as  are  the  dry-point  lines  in  the  sky.  The 
post  at  the  left  is  shaded  with  short  horizontal  lines. 

174  The  Large  Pool.  M.  171.  Gr.  144.  W.  143. 

Height  7%.  Width  io%. 

I.  Before  the  butterfly.  The  side  of  the  barge  next  to  that  contain¬ 
ing  the  men  is  not  shaded,  and  there  are  only  a  few  lines  at  the  left  of 
the  telegraph  pole.  The  mast  on  the  sailboat  at  the  right  is  short, 
has  no  pennant,  and  the  sail  is  only  partly  shaded.  In  the  group  of 
ships,  the  third  mast  from  the  right  has  no  stays.  E.  G.  Kennedy. 

II.  The  side  of  the  barge  mentioned  in  i  is  shaded  by  slanting  lines; 
the  general  effect  is  stronger;  touches  of  new  shading  here  and 
there.  H.  H.  Benedict. 

III.  There  are  new  short  vertical  lines  above  the  corner  of  the  dock; 
the  side  of  the  barge  mentioned  in  ii  is  heavily  shaded  by  cross-lines ; 
there  is  also  slight  additional  shading  among  the  barges  and  ships 
and  on  the  houses  at  right.  New  clouds  are  at  the  right  of  the 
group  of  vessels,  and  the  house  at  extreme  left  is  partly  drawn  in. 
W.  B.  Dickerman. 

IV.  The  houses  at  the  extreme  left  are  fully  expressed;  the  barge  at  the 
corner  of  the  dock  has  more  shading,  and  the  cargo  is  indicated; 
the  stern  of  the  outside  barge  is  partly  shaded,  and  the  third  mast 
from  the  right  has  stays.  The  butterfly  is  at  left,  below. 

Lenox  Library. 

V.  There  is  additional  shading  on  the  houses  at  the  extreme  right  and 
on  the  sail  of  the  boat,  which  has  now  a  topmast  with  a  pennant. 

65 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


There  are  six  delicate  dry-point  lines,  instead  of  three,  where  the 
barge  meets  the  corner  of  the  dock  at  left,  half  an  inch  from  the 
bottom  of  the  plate.  J.  Caldwell. 

VI.  The  outline  of  the  cloud  at  right  runs  to  within  half  an  inch  of 
the  roof  of  the  house  at  extreme  right.  There  are  slight  clouds  at 
left,  including  seven  short  horizontal  lines  to  the  right  of  the  tele¬ 
graph  pole.  H.  Mansfield. 

VII.  There  are  fourteen  horizontal  lines  in  the  sky  at  the  left  instead  of 
seven;  a  few  new  lines  are  in  the  sky,  at  the  right.  A.  W.  Scholle. 

On  the  Lenox  Library  impression,  in  Whistler’s  writing,  “Wapping 
-The  Pool.” 


175  The  “Adam  and  Eve,”  Old  Chelsea.  M.  172.  Gr.  145. 

Height  6%.  Width  11%.  [W.  144. 

I.  Before  the  butterfly;  before  the  work  noted  in  ii. 

II.  The  butterfly  is  in  the  sky  over  the  church  tower,  and  there  are 
cross-lines  on  the  trees  at  the  left.  The  stern  of  the  second  boat, 
or  barge,  with  a  sail,  at  the  left,  is  shaded  with  short  oblique  lines. 
Heavier  shading  is  added  on  the  stern  of  the  barge,  or  scow,  with  no 
sail,  which  is  at  the  right  of  the  group  of  boats. 

176  Under  Old  Battersea  Bridge.  M.  173.  Sup.  280. 

Height  8%.  Width  5%. 

I.  The  arch  of  the  bridge  has  only  five  or  six  lines,  and  the  suspension 
bridge  is  in  outline.  T.  J.  Coolidge,  Jr. 

II.  There  is  new  work  on  the  piers  of  the  bridge  and  on  the  arch ;  also 
on  the  suspension  bridge,  in  the  sky  and  in  the  water.  The  boat  is 
drawn  in  charcoal.  H.  S.  Theobald. 

III.  New  dry-point  lines  are  in  the  sky,  just  above  the  buildings  and  sus¬ 
pension  bridge.  H.  H.  Benedict. 

66 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


177  Old  Battersea  Bridge.  M.  174.  Gr.  142.  W.  141. 

Height  7%.  Width  ii%. 

I.  Before  the  butterfly.  To  the  left  of  the  sail,  there  is  an  irregular, 
unshaded  space  at  the  base  of  three  houses,  and  there  is  no  cross- 
hatching  between  some  of  the  transverse  beams  of  the  arch  of  the 
bridge,  at  right.  Houses  show  faintly  through  the  sail.  /.  P.  Elton. 

II.  The  outline  of  the  houses  in  the  sail  is  fainter;  the  butterfly  is  at 
lower  right.  C.  Buckingham. 

III.  Fine,  short  vertical  lines  cover  the  space  at  the  left  of  the  sail,  which 
was  unshaded.  Short  slanting  lines  cross  the  transverse  beams  of 
the  right  arch.  Clouds  are  outlined  in  the  sky  under  the  bridge ;  on 
the  house  next  to  the  sail,  a  series  of  fine  horizontal  dry-point  lines 
strengthens  the  shading.  H.  Mansfield.  [Detail.] 

IV.  Light  clouds  are  dry-pointed  in  the  sky  under  the  bridge,  which 
obliterate  the  outline  of  the  clouds  mentioned  in  iii.  J.  H.  Wrenn. 

V.  The  dry-point  lines  of  shading  on  the  houses  (see  iii)  are  almost 
worn  away.  The  butterfly  has  been  erased,  and  a  smaller  one  etched 
in,  further  to  the  left. 

Casually  looking  at  the  impressions  with  the  small  butterfly,  the  space 
at  the  base  of  the  houses  appears  to  be  unshaded.  Examination  of  the 
original  etching  with  a  magnifying-glass  will  show,  however,  that  the 
dry-point  shading  (see  in)  has  worn  away.  Besides,  the  short  slanting 
lines  on  the  transverse  beams  (see  in),  while  worn,  may  yet  be  plainly 
seen.  Impressions  in  this  state  are  weaker  than  those  of  the  other 
states. 

Published  by  The  Fine  Art  Society,  London,  in  1879. 


178  Old  Putney  Bridge.  M.  175.  Gr.  146.  W.  145. 

Height  7%.  Width  11%. 

I.  The  butterfly  is  in  outline;  the  trees  and  foliage  are  not  fully  ex¬ 
pressed.  H.  L.  Quick. 


67 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  reflections  in  the  water  are  stronger  and  deeper ;  more  work  all 
over  the  plate.  Similar  to  iii^  except  that  the  butterfly  is  not  shaded. 
Haden  Collection. 

Not  reproduced. 

III.  The  butterfly  is  shaded.  H.  S.  Theobald. 

IV.  The  plate  shows  signs  of  wear.  New  short  vertical  dry-point  lines 
in  the  water  at  extreme  left,  lengthen  the  reflection  of  the  river 
bank ;  irregular  horizontal  lines  are  added  in  the  water  at  right. 

Published  by  The  Fine  Art  Society,  London,  in  1879. 

179  The  Little  Putney,  No.  l.  M.  176.  Gr.  147.  w.  146. 

Height  5%6.  Width  SVs. 

I.  Before  the  butterfly.  There  are  faint  lines  in  the  water  at  right. 
H.  S.  Theobald. 

II.  The  plate  has  been  cleaned ;  the  butterfly  is  at  right,  below. 

Lenox  Library. 

Stamped  by  the  Printsellers’  Association,  and  published  by  The  Fine 
Art  Society,  London,  January,  1879,  as  “Putney  Bridge.” 

In  1883  it  was  reissued  in  “Four  Masters  of  Etching,”  by  F.  Wed- 
more. 

180  The  Little  Putney,  No.  2.  M.  177.  Gr.  238.  W.  226. 

Height  4%.  Width  7%. 

I.  Before  the  butterfly.  Lenox  Library. 

II.  With  the  butterfly.  [Detail.] 

III.  “The  Little  Putney”  is  added,  but  not  by  Whistler.  [Detail.] 

181  HuRLINGHAM.  M.  178.  Gr.  148.  W.  147. 

Height  5%.  Width  7%. 

I.  There  is  little  shading  on  the  river  bank  just  below  the  tall  houses 
at  left  which  have  no  coping  nor  chimneys.  The  longest  reflec- 

68 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


tions  from  the  sails  are  carried  only  to  an  inch  and  a  quarter  from 
the  lower  edge  of  the  plate.  There  is  a  broken,  irregular  line  of 
sky  at  the  left.  W.  B.  Dickennan. 

The  original  etching  is  largely  drawn  upon,  including  the  mast  and  sail 
at  left, 

II.  The  reflections  of  the  sails  are  lengthened  by  three  eighths  of  an 
inch.  There  is  further  shading  on  the  left  bank;  chimneys  and  a 
coping  are  on  the  tall  houses  at  left;  there  is  additional  work 
on  the  foliage,  and  touches  of  new  work  here  and  there. 

Obach  S'  Co. 

III.  The  square  house  at  left  is  shaded  with  delicate  horizontal  dry- 
point  lines ;  the  line  of  sky  has  been  removed. 

Stamped  by  The  Printsellers’  Association,  and  published  in  London, 
1879. 

182  Fulham,  m.  179.  Gr.  149.  w.  148. 

Height  5%6.  Width  8. 

I.  The  shadows  of  the  buttresses,  tower,  etc.,  are  very  light;  the  em¬ 
bankment,  seen  through  the  wide  span,  is  white,  and  there  are  no 
cross-lines  on  the  side  of  the  barge  in  the  foreground.  H.  Mansfield. 

II.  The  barge  and  the  embankment  are  shaded,  and  the  reflections  in 
the  water  strengthened.  There  is  more  work  on  the  trees  and  in 
the  water  just  above  the  butterfly.  H.  Mansfield. 

Stamped  by  the  Printsellers’  Association,  and  published  by  The  Fine 
Art  Society,  January  28,  1879. 

a.  This  is  a  reproduction  from  a  photogravure  of  the  original  etch¬ 
ing.  It  is  one  sixteenth  of  an  inch  smaller  on  each  side,  there  is 
a  positive  line  all  around  it,  and  the  corners  are  a  sharp  angle.  A 
line  in  the  water  at  the  stern  of  the  boat  is  shorter  than  in  the  true 
impression,  and  the  small  tree  at  extreme  right  differs  from  the 
original  both  in  the  trunk  and  at  the  top.  Inserted  for  obvious 


/ 


reasons. 


69 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


183  Little  Venice.  M.  i8o.  Gr.  150.  W.  149. 

Height  7%.  Width  io%. 

One  of  “Venice,  a  Series  of  Twelve  Etchings,”  published  by  The  Fine 
Art  Society,  London,  in  1880. 

184  Nocturne,  m.  i8i.  Gr.  151.  w.  150. 

Height  7%.  Width  ii%. 

I.  Before  the  gondolas,  lines  in  the  sky,  the  lights  on  the  steamer,  etc. 
The  late  Otto  H.  Bacher. 

From  an  early  proof  taken  in  Venice. 

II.  Two  gondolas  are  in  front  of  the  ship,  three  smaller  ones  in  mid¬ 
distance  at  the  right,  and  one  at  the  left.  Slanting  lines  are  in  the 
sky  at  upper  right,  and  vertical  lines  in  the  water  below;  delicate 
horizontal  lines  run  from  the  campanile  to  the  right,  and  there  are 
new  fine  lines  on  the  hull  of  the  ship. 

Not  reproduced. 

III.  The  lights  show  on  the  steamer ;  there  are  short  vertical  lines  in  the 
sky  at  the  horizon,  and  long  sweeping  lines  in  the  water  below. 
The  late  W.  S.  Carter. 

From  an  impression  clean  wiped. 

IV.  Several  diagonal  lines  from  right  to  left  have  been  added  on  the 
stern  of  the  steamer  and  on  the  cathedral  at  right;  there  are  fine, 
short  diagonal  lines  in  the  sky  to  the  right  of  the  steamer.  Rich  ef¬ 
fect  of  printing.  J.  H.  Wrenn. 

V.  The  lights  on  the  ship,  the  lines  in  the  sky,  and  the  long  lines  in  the 
water  below,  have  been  erased  or  have  worn  away.  The  end  of 
the  bowsprit  on  the  ship  is  altered,  and  there  are  new  horizontal 
lines  below  it,  and  between  the  foremast  and  the  mainmast.  The 
gondola  at  the  left  and  that  at  the  extreme  right  have  almost  worn 
away. 

One  of  the  “Twelve  Etchings.” 

70 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


185  The  Little  Mast.  M.  182.  Gr.  152.  W.  151. 

Height  10^.  Width  7%. 

I.  There  is  a  figure,  somewhat  faint,  between  the  two  persons  seated 
in  the  middle  distance  at  the  left.  The  features  on  the  faces  of  the 
children  in  the  foreground  are  not  indicated ;  the  frock  of  the  child 
at  the  right  is  shaded  by  short  horizontal  dry-point  lines,  and  there 
are  lines  of  similar  character  in  the  light  space  on  the  ground,  above 
the  heads  of  the  two  figures  next  to  her.  /.  H.  Wrenn. 

II.  The  shading  on  the  corner  of  the  lug  sail,  the  short  dry-point  lines 
above  and  to  the  right  of  it,  the  figure  between  the  two  persons 
seated,  and  the  lines  above  the  heads  of  the  children  mentioned  in 
I,  have  been  erased.  H.  B.  Dick.  [Detail.] 

III.  The  features  are  slightly  indicated  on  the  face  of  the  child  at  right. 
The  lug  sail  is  further  shaded  by  a  series  of  short  irregular  lines. 
F.  L.  Babbott. 

IV.  The  features  of  the  children  are  more  defined,  and  the  child  at  the 
right  has  heavier  hair;  the  masts  of  the  ship  are  thicker,  the  mizzen¬ 
mast  has  shrouds,  and  the  shading  on  the  upper  left  corner  of  the 
lug  sail  has  been  restored,  though  slightly  different  from  i.  The 
vessel  in  the  distance  at  right,  its  mast,  and  the  reflections  in  the 
water,  have  been  strengthened.  A.  J.  Parsons. 

One  of  the  “Twelve  Etchings.” 


186  The  Little  Lagoon.  M.  183.  Gr.  153.  w.  152. 

Height  8%.  Width  6. 

I.  Part  of  the  gondola  is  very  lightly  etched.  H.  L.  Quick. 

II.  The  gondola  is  redrawn  with  short,  heavy  lines,  and  there  is  a  strong 
reflection  in  the  water  below  it.  [Detail.] 

One  of  the  “Twelve  Etchings.” 


71 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


187  The  Palaces.  M.  184.  Gr.  154.  W.  153. 

Height  9%.  Width  1434- 

I.  Before  the  butterfly.  There  are  no  figures  in  the  central  doorway, 
and  the  man  in  the  large  hat,  who  is  seated  at  the  extreme  left  of 
the  palace  in  the  later  states,  has  not  been  drawn  in.  F.  Keppel. 

II.  There  are  two  figures  in  the  central  doorway,  against  a  dark  back¬ 
ground,  and  the  man  with  the  large  hat  appears  at  the  left.  There 
are  five  series  of  short  broken  lines  in  the  water  at  right,  and  slight 
additional  shading  on  the  gondolas  and  their  reflections.  The  but¬ 
terfly  is  at  upper  left.  H.  Whittemore. 

III.  The  same  as  ii,  except  that  the  butterfly  is  removed. 

One  of  the  “Twelve  Etchings.” 

188  The  Doorway.  M.  185.  Gr.  155.  W.  154. 

Height  ii^.  Width  8. 

I.  The  effect  is  thin.  The  girl  is  almost  in  profile,  has  a  scarf  over  her 
head,  and  holds  a  piece  of  drapery,  one  end  of  which  is  in  the  water. 
The  steps  are  almost  white. 

II.  The  plate  is  strengthened  all  over.  The  steps  are  shaded,  and  ver¬ 
tical  lines  are  added  in  the  water  below.  F.  Keppel. 

III.  The  drapery  held  by  the  girl,  and  part  of  the  shading  on  the  lower 
steps  and  in  the  water,  have  been  erased.  The  figure  of  the  girl, 
redrawn,  is  turned  more  to  the  front;  the  height  of  the  woman 
behind  her  has  been  reduced,  and  her  left  hand  touches  her  face. 
There  is  further  shading  on  some  of  the  panes  above  the  doorway 
at  left,  also  above  the  arch  of  the  doorway  and  the  windows  on 
each  side  of  it.  There  is  new  work  on  and  around  the  chairs  hang¬ 
ing  from  the  ceiling.  Lenox  Library.  [Detail.] 

IV.  There  are  new  dry-point  lines  at  the  right  of  the  girl’s  foot,  mark¬ 
ing  the  outline  of  the  skirt  more  definitely.  [Detail.] 

Royal  Collection,  Windsor. 


72 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


V.  There  is  a  heavy  dry-point  line  on  top  of  the  girl’s  head;  others, 
short,  light,  and  slanting,  are  at  her  left,  and  four,  slightly  curved 
and  heavy,  are  in  the  water  just  below  her  feet.  The  background 
appears  to  have  been  rubbed  down  and  worked  over  with  fine  lines, 
while  the  woman  recedes  more  into  it  and  is  slighter.  /.  H.  Wrenn. 

VI.  The  two  lower  steps  are  shaded  by  vertical  lines  immediately  to  the 
left  of  the  girl’s  feet;  the  head  of  the  woman,  who  wears  a  cap,  is 
larger,  and  there  is  intricate  work  on  the  shadows  in  the  doorway. 
The  dry-point  lines  in  the  water,  mentioned  in  v,  have  been  worked 
over  or  have  disappeared.  [Detail.] 

VII.  The  figure  of  the  girl  has  been  burnished  out  and  replaced  by  one 
more  youthful,  who  holds  a  piece  of  drapery  in  her  hand,  part  of 
which  is  in  the  water.  The  interior  is  more  crisply  defined,  and 
the  water  is  covered  with  dry-point  lines  running  in  all  directions. 

One  of  the  “Twelve  Etchings.” 


189  The  Piazzetta.  M.  i86.  Gr.  156.  W.  155. 

Height  10.  Width 

I.  There  are  five  birds  at  the  left  of  the  column,  and  two  gaps  in  the 
row  of  lines  on  the  same  side  of  it.  The  man  seated  on  the  steps 
wears  a  large  wide-awake  hat,  and  the  circular  space  in  the  tower  is 
shaded  by  horizontal  lines,  which  are  crossed  by  others  radiating 
from  the  smallest  circle.  Robert  Hartshorne. 

II.  Three  of  the  birds  at  the  left  of  the  column  have  been  erased.  There 
are  slight  changes  in  the  doorway,  and  the  lines  of  the  pavement 
are  faint.  H.  H.  Benedict. 

III.  The  gaps  on  the  left  side  of  the  column  are  filled  in,  and  new  lines 
of  shading  are  on  both  sides  of  it.  The  pavement  has  been  redrawn. 
The  late  W.  S.  Carter. 

IV.  The  circular  opening  above  the  doorway  is  now  shaded  by  heavy 

73 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


vertical  lines,  and  there  is  new  work  in  the  doorway  itself.  The 
pavement  is  marked  by  heavier  lines,  some  crossed. 

V.  The  head  of  the  man  with  the  wide-awake  hat  has  been  burnished 
out  and  redrawn.  He  now  wears  a  soft  hat,  somewhat  rakishly, 
and  the  face  is  more  distinct.  There  are  new  heavy  lines  above  the 
butterfly,  and  a  few  cross-lines  on  the  column  at  left.  A.  J.  Parsons. 
One  of  the  “Twelve  Etchings.” 

190  The  Traghetto,  No.  l.  M.  187.  Gr.  157.  Sup.  368. 

Height  9%.  Width  12. 

I.  Only  three  sides  of  the  window-frame  at  upper  right  are  drawn  in ; 
there  is  a  slight  suggestion  of  two  figures  standing  below,  with 
shading  near  the  left  leg  of  one  of  them.  H.  Mansfield. 

II.  The  figures  and  shading  at  right  have  been  removed ;  there  is  shad¬ 
ing  on  the  right  side  of  the  upper  window,  and  additional  shading 
at  the  left  and  top  of  it;  new  window-panes  are  formed.  Fine 
lines  are  added  to  the  shading  over  the  window  below. 

H.  S.  Theobald. 

III.  The  window  at  the  left  has  been  erased,  and  the  new  one  in  its  place 
is  further  to  the  left,  as  is  the  butterfly,  which  is  now  in  outline. 
There  is  a  group  of  men  seated  at  the  right;  further  along,  the 
wall  is  partly  erased,  the  distance  also.  The  late  Otto  H.  Bacher. 

191  The  Traghetto,  No.  2.  M.  i88.  Gr.  158.  W.  156. 

Height  9%.  Width  12. 

I.  The  brim  of  the  hat  of  the  man  at  the  left  of  the  table  is  unfinished. 
Before  the  work  mentioned  in  ii.  The  late  Otto  H.  Bacher. 

“Otto”  is  written  on  the  original  impression,  which  was  taken  in 
Venice.  It  is  cut  at  the  bottom. 

II.  The  brim  and  crown  of  the  hat  of  the  man  at  the  left  of  the  group 
are  completed ;  there  is  new  work  at  the  right  of  the  third  tree  ( from 

74 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


left  to  right),  just  above  the  impost  of  the  arch,  and  cross-lines  on 
the  foliage  to  the  left  of  the  first  tree.  The  lamp  is  indicated. 
Mrs.  Bayard  Thayer. 

III.  The  entire  plate,  except  the  figures  at  the  right  and  the  windows 
above  them,  has  been  erased  and  redrawn.  A  girl  carrying  a  baby 
is  at  lower  left;  the  butterfly  is  above  and  to  the  left  of  her. 

H.  Whitt emore. 

IV.  There  are  touches  of  new  work  in  the  archway,  on  the  carafe,  and 
on  the  hat  of  the  man  at  the  left  of  the  table.  Two  of  the  irregular 
white  spaces  in  the  archway,  below  and  at  left  of  the  lamp,  are  cov¬ 
ered  with  lines.  Mrs.  Bayard  Thayer. 

V.  The  child  in  the  girl’s  arms  now  has  eyes.  The  archway  around 
and  in  the  vicinity  of  the  lamp  has  been  reworked.  H.  Mansfield. 

VI.  The  man’s  back  at  left  is  heavily  outlined  in  dry-point;  also  the 
carafe  on  the  table. 

One  of  the  “Twelve  Etchings.” 

192  The  Riva,  No.  1.  M.  189.  Gr.  159.  W.  157. 

Height  7%.  Width  ii^. 

I.  The  arch  of  the  canopy  of  the  gondola  is  incomplete.  Two  figures 
of  women,  lightly  etched,  are  in  the  foreground  near  the  centre,  and 
there  is  an  irregular  white  space  to  the  right  of  the  window  next 
the  butterfly. 

II.  The  two  women  have  been  erased.  There  is  new  work  on  the  net 
hanging  up  to  dry,  and  near  the  butterfly  on  the  house  at  the  left. 
The  gondola  is  completed.  A.  J.  Parsons. 

III.  There  is  more  work  on  the  palace  to  the  left  of  the  bridge.  Short 
cross-lines  now  cover  the  net. 

mo. The  same  as  III.  H.  B.  Dick.  [Detail.] 

Until  after  the  reproduction  had  been  printed,  I  thought  that  this 
impression  was  a  later  state  of  the  plate  than  iii,  on  account  of  the  fine 


75 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


lines  of  shading  on  the  hull  of  the  ship  at  left,  as  well  as  the  lines  in 
the  sky.  Closer  examination  showed,  however,  that  the  fine  dry-point 
lines  in  iii  had  worn  away  and  that  no  changes  had  been  made  by  the 
artist. 

One  of  the  “Twelve  Etchings.” 

193  Two  Doorways.  M.  190.  Gr.  160.  W.  158. 

Height  8.  Width  ii%. 

I.  Without  any  reflections  in  the  water,  except  at  the  left  doorway; 
the  buildings  are  lightly  drawn. 

Not  reproduced. 

II.  Two  men  and  a  gondola  are  in  front  of  the  doorway  or  passageway 
at  the  left,  in  which  two  girls  are  standing;  the  window  between 
the  doorways  is  only  partly  shaded.  Before  the  butterfly.  G.  Mayer. 

III.  The  gondola  and  the  figures  of  men  and  girls  have  been  erased; 
an  old  man,  wearing  a  cap  and  bending  toward  the  left,  is  on  the 
steps.  In  the  recess  of  the  doorway,  which  has  been  much  darkened, 
are  two  indistinct  figures;  a  gondola  with  a  gondolier  is  at  the 
right,  and  a  number  of  figures  are  on  the  bridge.  The  white  space 
on  the  window  between  the  doorways  is  shaded,  save  for  a  narrow 
strip  at  lower  right.  The  butterfly  is  at  the  left  of  the  arch  of  the 
doorway,  and  there  is  more  work  all  over  the  plate.  /.  S.  Butcher. 

IV.  There  is  closer  work  in  the  doorway,  and  the  figures  are  less  distinct ; 
a  few  short  slanting  lines  from  left  to  right  are  on  the  top  step, 
at  the  extreme  left.  H.  L.  Quick. 

V.  The  figure  of  the  old  man  is  partly  burnished  out;  he  now  has  a 
white  beard  and  white  hair  or  a  cap.  There  is  only  one  figure 
distinguishable  in  the  doorway,  a  girl  holding  a  basket;  there  are 
a  number  of  slight  diagonal  lines  in  the  water,  below.  The  shading 
in  the  window  is  lightened  at  upper  right,  and  the  white  strip  at 
lower  right  is  covered  with  lines.  The  design  of  the  grill  over  the 

76 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


door  at  right  is  altered;  the  lines  on  the  keystone  of  the  arch  are 
made  less  positive,  and,  at  the  left  of  it,  short  slanting  lines  run  from 
right  to  left.  Several  lines  added  in  the  upper  right  corner  suggest 
a  dormer  window. 

VI.  Two  figures,  as  well  as  the  old  man,  are  in  the  doorway,  which  has 
been  reworked;  the  lamp  in  it  is  made  larger  but  is  not  clearly  de¬ 
fined.  From  centre  to  left,  the  reflections  in  the  water  are  rein¬ 
forced  by  dry-point  lines  running  in  all  directions  beneath  the 
doorway. 

One  of  the  “Twelve  Etchings.” 

194  The  Beggars.  M.  191.  Gr.  161.  W.  159. 

Height  12.  Width  8%. 

I.  A  pipe  runs  from  the  left  wall  to  the  lamp,  which  is  now  large  and 
only  two  and  one  half  inches  from  the  left  edge  of  the  plate.  An  old, 
bearded  man  and  a  girl,  the  latter  slightly  indicated,  stand  in  the 
archway,  at  the  right.  The  butterfly,  which  is  large,  is  at  the  left, 
near  the  top.  Obach  dr  Co. 

Not  reproduced. 

II.  The  old  man  and  the  girl  have  been  replaced  by  a  young  woman  and 
a  little  girl;  the  man  beyond  them,  in  a  large  hat,  faces  the  wall, 
and  the  pavement  is  heavily  shaded.  Obach  &  Co. 

III.  The  whole  top  of  the  composition  is  changed;  the  butterfly  is  in 
outline,  and  the  lamp,  which  is  smaller,  is  three  and  one  half  inches 
from  the  left.  The  girl  and  child  are  replaced  by  an  old  woman  and 
a  slightly  taller  child  than  that  of  ii;  the  other  figures  are  also 
changed;  in  fact,  the  plate  is  altered  so  completely  that  it  appears 
like  a  different  one. 

IV.  The  coat  on  the  man  is  lengthened  and  the  hat-brim  made  larger. 
The  butterfly  is  shaded,  and  there  are  a  few  short  slanting  lines  in 
the  background  just  above  the  child’s  shoulder. 

77 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


V.  The  figure  of  the  man  has  been  burnished  out  and  redrawn  roughly; 
the  crown  of  the  hat  is  unfinished,  and  the  whole  outline  of  the 
figure  indefinite.  Parallel  diagonal  lines  of  shading  extend  from 
the  woman  almost  to  the  feet  of  the  man.  The  late  W.  S.  Carter. 
[Detail.] 

VI.  The  figure  of  the  man  in  the  archway  is  reworked,  as  is  the  wall 
around  him;  the  feet  and  ankles  of  the  dark  woman  in  the  dis¬ 
tance  are  almost  erased;  a  number  of  nearly  vertical  lines  are  at 
upper  right,  an  inch  and  a  half  from  the  top,  while  slanting  lines 
appear  below  them  on  the  side  of  the  arch.  The  butterfly  has  almost 
disappeared.  A.  W.  Scholle. 

VII.  The  shading  around  the  man  is  lightened,  as  is  the  roof  near  the 
entrance.  Slanting  lines  partly  shade  a  white  spot  on  the  beam  be¬ 
low  the  lamp,  two  inches  from  the  right.  Mrs.  H.  O.  Havemeyer. 

VIII.  The  dark  woman’s  legs  are  redrawn;  there  is  new  work  on  the 
man’s  hat  and  on  the  wall  just  behind  him;  short  slanting  lines 
run  from  right  to  left  at  the  left  of  the  old  woman’s  skirt,  two  and 
one  eighth  inches  from  the  bottom. 

IX.  The  upper  part  of  the  arch  is  covered  with  new  work,  and  the 
lamp  is  heavily  shaded.  The  hand  of  the  old  woman  is  erased, 
the  man  has  a  short  coat  thrown  over  his  shoulders,  and  his  hat  is 
diflferent  in  shape  and  worn  at  a  different  angle.  The  dark  woman 
stands  with  legs  wider  apart;  the  light  woman’s  legs  are  partly 
erased;  heavy  lines  are  on  the  floor  and  on  the  wall  at  the  left. 
Other  minor  changes.  F.  L.  Babbott. 

One  of  the  “Twelve  Etchings.” 

After  Whistler’s  death  twelve  or  fourteen  impressions  were  taken 
from  the  plate  by  F.  Goulding,  that  being  the  number  due  to  The  Fine 
Art  Society.  These  impressions,  printed  in  a  brown-black  ink,  are 
heavy  and  somewhat  muddy,  and  even  if  they  were  not  signed,  “F. 
Goulding,  printer,  Nov.  27,  1903,”  on  the  back,  could  not  be  mistaken 
for  those  of  Whistler’s  printing. 

78 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


195  The  Mast.  M.  192.  Gr,  162.  w.  160. 

Height  13%.  Width  6%. 

I.  Before  the  butterfly.  The  right  shoulder  of  the  boy  at  left,  and 
the  wall  against  which  he  leans,  are  not  expressed.  The  man  at  the 
right  wears  a  short  jacket. 

II.  The  boy’s  shoulder  and  arm,  and  the  wall  against  which  he  leans,  are 
now  drawn  in.  The  late  Otto  H.  Bacher.  [Detail.] 

III.  The  peak  of  the  boy’s  cap  is  further  shaded  by  short  lines;  there 
are  irregular  short  dry-point  lines  under  the  chair  of  the  woman 
in  the  immediate  foreground  at  left,  and  on  the  end  of  the  cradle 
in  front  of  her. 

IV.  The  man  is  redrawn  and  wears  a  long  blouse  instead  of  a  short 
jacket;  there  are  cross-lines  on  the  left  arm  of  the  woman  at  right 
and  new  lines  in  the  sky. 

V.  The  background  is  cleaned,  and  the  butterfly  added  above  the  head 
of  the  boy  at  left.  /.  5".  Butcher, 

VI.  There  are  additional  lines  on  the  peak  of  the  boy’s  cap.  The  ker¬ 
chief  on  the  head  of  the  second  woman  (from  right  to  left)  has  a 
knot  or  twist  on  top,  and  there  are  five  or  six  short  horizontal  lines 
on  the  kerchief  on  the  head  of  the  woman  in  front.  [Detail.] 

One  of  the  “Twelve  Etchings.” 


196  Doorway  and  Vine.  M.  193.  Gr.  163.  W.  161. 

Height  gVs.  Width  6%. 

I.  The  figure  in  the  doorway  has  only  one  leg;  two  figures,  lightly 
indicated,  are  at  the  left.  There  is  a  white  space  which  extends 
almost  across  the  top  of  the  archway,  and  an  irregular  upright  one 
at  the  left  of  it;  also,  a  heavy  mark  of  foul  biting  in  the  upper  right 
corner.  H.  S.  Theobald. 


79 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  upright  space,  and  the  long  one  above  and  to  the  right  of  it, 
are  shaded  by  short  vertical  dry-point  lines;  there  is  more  work 
on  the  shading  of  the  archway.  Two  figures  are  indicated  in  the 
distance.  The  foul  biting  is  removed. 

Royal  Collection,  Windsor. 

III.  The  two  figures  in  the  foreground  have  almost  disappeared;  diag¬ 
onal  lines  from  left  to  right  are  added  to  the  shading  above  the 
figures  in  the  window.  H.  Wunderlich  &  Co. 

IV.  The  two  shadowy  figures  in  the  foreground  have  been  entirely  re¬ 
moved.  The  girl  at  the  right,  in  the  window,  now  has  features 
and  carries  a  fan;  cross-lines  are  added  in  the  shading  above  her, 
also  in  the  doorway.  H.  H.  Benedict. 

v.  The  figure  in  the  doorway  has  two  legs,  and  is  bending  toward  the 
left,  with  arms  extended.  The  panes  above  the  door  are  larger  and 
more  regular,  and  the  shading  of  the  doorway  is  reworked.  Two 
figures  are  on  the  other  side  of  the  canal,  and  a  window  with  shutters 
is  above  them.  The  figures  in  the  window  at  top  are  somewhat 
changed  (the  one  at  the  left  now  having  eyes),  and  the  shading  be¬ 
hind  them  is  further  cross-hatched. 

VI.  The  figures  in  the  window  are  partly  burnished  out ;  the  one  at  the 
left  is  redrawn,  and  there  is  heavy  shading  around  the  head. 

A.  W.  Scholle. 

VII.  The  doorway  is  more  heavily  shaded.  The  figure  in  it  now  stands 
upright,  wears  a  hat,  and  has  only  one  arm  extended.  The  double 
row  of  panes  above  the  doorway  is  again  redrawn  and  made 
smaller,  and  the  shading  on  the  walls  is  heavier.  The  figures  and 
background  in  the  window  above  are  again  almost  erased,  and  the 
shading  on  the  ground  to  the  left  of  the  man,  partly  so. 

VIII.  The  figfures  in  the  window  above,  and  most  of  the  shading  in  it, 
have  been  erased. 

IX.  There  are  two  new  and  apparently  older  girls  in  the  window.  One 
is  seen  in  profile,  seated,  wearing  a  scarf  on  her  head,  and  the  other 

8o 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


stands  beside  her.  New  lines  almost  cover  that  part  of  the  floor 
which,  in  vii,  was  burnished  out. 

One  of  the  “Twenty-six  Etchings,”  published  by  Messrs.  Dowdeswell 
and  Dowdeswells,  London,  1886. 


197  San  Biagio.  M.  194.  Gr.  165.  W.  163.  Sup.  p.  37. 

Height  8%.  Width  12. 

I.  Before  the  long  diagonal  lines  in  the  roof  of  the  arch.  The  sleeves 
of  the  hanging  garments  are  somewhat  indefinite,  and  there  is  a 
blank  space  in  the  archway  to  the  left  of  the  men  in  the  boat. 

The  late  Otto  H.  Bacher. 

II.  The  shading  in  the  arch  is  much  strengthened,  partly  by  long  up¬ 
right  and  diagonal  lines,  also  the  shading  under  and  at  the  side 
of  the  balcony ;  several  figures  of  women  are  indicated  in  the  space 
to  the  left  of  the  boat,  and  a  number  of  vertical  lines  are  added  in  the 
water.  H.  H.  Benedict. 

III.  The  width  of  the  long  arm  of  the  garment  at  the  right  has  been 
reduced;  delicate  dry-point  lines  have  been  added  to  the  shadowy 
figures  of  the  women,  and  there  are  new  vertical  lines  in  the  water 
below  the  overhanging  bow  of  the  boat.  W.  Dowdeswell. 

IV.  There  are  new  fine  diagonal  lines  in  the  roof  of  the  arch,  and  the 
narrow  opening  in  the  upper  right  side  of  it,  which  was  white,  is  now 
covered  with  lines.  There  is  only  one  of  the  shadowy  women  left, 
as  the  others  and  part  of  the  work  around  them  and  around  the  man 
with  the  hat,  have  been  burnished  out.  There  are  a  few  short  ver¬ 
tical  lines  above  the  head  of  the  kneeling  man,  and,  a  quarter  of  an 
inch  below  the  boat,  aft,  about  twenty  vertical  dry-point  lines 
strengthen  the  reflections  in  the  water.  Mrs.  0.  H.  Alford. 

V.  A  child  stands  behind  the  woman,  who  is  heavily  outlined.  There  is 
new  dry-point  work  on  the  arch  and  on  the  wall  of  the  archway, 
particularly  below.  Mrs.  H.  0.  Havemeyer.  [Detail.] 

81 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


VI.  The  interior  of  the  arch  is  heavily  reworked.  The  head  of  the  man 
who  wears  a  hat  is  redrawn,  his  shoulders  are  strongly  shaded,  and 
there  is  new  work  on  the  doorway  to  the  left  of  him  and  on  the  wall 
above  him.  There  is  more  shading  on  the  cover  of  the  boat  and  on 
the  houses  beyond  the  arch,  particularly  in  the  distant  corner,  which 
is  sharply  defined. 

VII.  The  faint  figure  of  the  woman,  and  the  man  with  the  hat,  are  re¬ 
moved,  and  replaced  by  slanting  and  cross  lines.  H.  B.  Dick.  [De¬ 
tail.] 

VIII.  There  is  heavier  shading  on  the  space  where  the  woman  stood. 
H.  H.  Benedict.  [Detail.] 

IX.  The  work  in  the  arch  is  closer  and  has  probably  been  rubbed  down 
with  charcoal.  All  the  white  spaces  on  the  wall  immediately  in 
front  of  the  men  in  the  boat  have  been  shaded,  including  the  shutter, 
which  is  covered  with  fine  horizontal  lines.  MissF.  Moore.  [Detail.] 

One  of  the  “Twenty-six  Etchings.” 


198  Bead-Stringers.  M.  195.  Gr.  166.  W.  164. 

Height  9.  Width  6. 

I.  The  woman  holding  the  baby  has  a  roundish  face  and  is  looking 
toward  the  figure  at  left,  the  head  of  which  has  been  burnished 
out;  the  top  of  the  lintel  of  the  doorway  is  only  lightly  shaded. 

H.  S.  Theobald. 

II.  The  top  of  the  lintel  is  shaded  by  vertical  dry-point  lines  which 
extend  to  the  smaller  apertures  below,  also  by  short,  thick  diagonal 
lines  at  right.  Ten  or  a  dozen  dry-point  lines,  running  from  left  to 
right,  are  in  front  of  the  knees  of  the  woman  in  the  background. 
Closer  work  in  the  doorway.  W.  Dowdeswell. 

III.  The  upper  part  of  the  figure  at  left  is  further  burnished  out,  as 
are  the  dry-point  lines  in  front  of  the  woman’s  knees;  there  are 

82 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


diagonal  lines  in  the  shading  in  the  doorway,  under  the  third  aper¬ 
ture  from  the  left.  W.  Dowdeswell. 

IV.  The  figure  at  left  is  completely  erased  and  that  of  a  girl  substituted. 
The  head  of  the  woman  holding  the  baby  is  changed ;  it  is  inclined 
forward  and  looks  downward.  The  dry-point  lines  over  the  small 
windows  have  been  erased,  and  etched  lines  of  closer  formation  have 
taken  their  place.  There  are  new  lines  to  the  right  and  left  of  and 
below  the  number  37;  also  in  the  shadow  below  the  apertures,  and 
on  the  skirts  of  the  women  at  right.  H.  Mansfield. 

V.  A  series  of  close  slanting  lines  runs  from  the  right  side  and  corner 
of  the  window  to  and  above  the  head  of  the  woman  at  the  right. 
H.  B.  Dick. 

VI.  Eight  short  horizontal  lines  run  from  the  hand  of  the  elderly  woman 
in  the  background,  to  the  left.  A  few  short,  heavy  diagonal  lines, 
from  right  to  left,  are  at  the  lower  right  corner  of  the  window. 

J.  Caldwell. 

VII.  The  head  of  the  woman  holding  the  child  is  now  in  profile.  New 
lines  are  to  the  left  of  the  elderly  woman’s  face  and  under  the  chair 
at  left.  The  butterfly  is  at  the  left,  about  half-way  up  the  plate. 

H.  H.  Benedict. 

VIII.  Diagonal  lines  running  from  left  to  right  are  in  the  large  square 
space  above  the  doorway;  the  head  of  the  woman  at  right,  the  con¬ 
tour  of  which  is  slightly  altered,  is  further  shaded.  Lenox  Library. 

One  of  the  “Twenty-six  Etchings.” 


199  Turkeys.  M.  196.  Gr.  167.  w.  165. 

Height  8%6-  Width  5^. 

I.  Before  the  butterfly.  Before  a  few  short  slanting  delicate  dry- 
point  lines  behind  the  head  of  the  man  at  right.  /.  H.  Wrenn. 

Not  reproduced. 


83 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  With  the  dry-point  lines;  the  butterfly  is  at  lower  left. 

Lenox  Library. 

One  of  the  “Twenty-six  Etchings.” 

200  Fruit-Stall.  M.  197.  Gr.  168.  W.  166. 

Height  8%.  Width  5%. 

I.  The  shadow  of  the  awning  is  rough  and  heavy.  Before  the  work 
mentioned  in  ii.  H.  S.  Theobald. 

II.  The  shadow  of  the  awning  is  reduced;  there  is  additional  shading 
in  the  doorway,  and  the  figures  in  it  are  altered ;  diagonal  lines  touch 
the  knees  of  the  seated  woman  at  left,  and  there  are  vertical  dry- 
point  lines  in  the  water  at  right.  The  woman  seated  behind  the  child 
has  been  erased,  and  the  plate  is  partly  cleaned.  T.  J.  Coolidge,  Jr. 

III.  The  shadow  of  the  awning,  the  figures  below  it,  and  those  in  the 
doorway,  are  burnished  out.  The  dark  water  is  an  effect  of  print¬ 
ing.  W.  Dowdeswell. 

IV.  The  figures  in  the  doorway,  the  shadow  of  the  awning,  and  the 
figures  underneath  it,  have  been  redrawn;  slight  horizontal  lines 
cross  seven  heavy  vertical  lines  in  the  water  at  the  right. 

V.  The  figures  in  the  doorway  are  partly  burnished  out ;  short  slanting 
lines  are  under  the  chair  of  the  woman  at  left. 

VI.  There  is  new  work  in  the  doorway;  the  figure  of  the  man  is  cov¬ 
ered  with  delicate  lines  of  shading,  but  is  still  indistinct. 

Lenox  Library. 

VII.  There  is  closer  work  in  the  shadow  of  the  doorway,  and  the  figures 
in  it  are  completed.  The  shadow  of  the  awning  is  again  reduced; 
there  are  new  touches  of  shading  behind  the  seated  woman  at  right, 
under  and  behind  the  chair  at  left,  etc. 

One  of  the  “Twenty-six  Etchings.” 

84 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


201  San  Giorgio.  M.  198.  Gr.  169.  W.  167. 

Height  8%.  Width  12. 

I.  Before  the  butterfly.  The  late  Otto  H.  Bacher. 

From  an  early  and  rough  proof  printed  in  Venice. 

II.  The  right  side  of  the  cupola  and  the  facade  of  the  church  have  been 
partly  burnished  out,  as  well  as  the  confused  work  above  the  gxin- 
wale  of  the  steamer,  to  the  left  of  the  mainmast.  Obach  &  Co. 
[Detail.] 

III.  A  few  slightly  undulating  lines  are  in  the  sky.  R.  M.  Hoe. 

IV.  The  dome  and  fagade  are  completed;  boats  hang  on  davits  above 
the  rail  of  the  steamer;  the  undulating  lines  in  the  sky  have  been 
removed,  and  the  butterfly  is  added  at  lower  left.  H.  H.  Benedict. 
[Detail.] 

One  of  the  “Twenty-six  Etchings.” 

202  Nocturne:  Palaces.  M.  199.  Gr.  170.  W.  168. 

Height  11%.  Width  7%. 

I.  Before  the  short,  irregular  horizontal  lines  on  the  corner  of  the 
house  at  right.  H.  H.  Benedict. 

II.  With  the  lines  which  are  lacking  in  i.  W.  Dowdeswell. 

III.  Diagonal  lines  run  from  left  to  right  inside  the  arch  of  the  bridge, 
and  short,  irregular  diagonal  lines  in  the  water  below  it;  some  of 
the  lines  running  upward  from  the  roof  of  the  house  at  the  left 
appear  to  be  retouched;  new  slanting  lines  (from  left  to  right)  run 
from  the  corner  of  the  roof  of  the  large  house  at  left,  diagonally 
upward  to  the  house  at  right;  new  short  lines  are  on  the  window 
of  the  smaller  house  in  centre,  and  below  it  near  the  arch. 

H.  Mansfield. 

IV.  Slanting  lines,  from  left  to  right,  cross  the  shadow  under  the  large 
balcony  of  the  house  at  left;  the  diagonal  lines  under  the  arch  of  the 

85 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


bridge  and  in  the  water  have  been  erased ;  slight  lines  of  shading  are 
on  the  upper  part  of  the  centre  house.  Mrs.  H.  O.  Havemeyer. 

V.  New  slanting  lines  in  the  sky  (from  right  to  left)  run  from  the 
third  story  of  the  house  at  the  right  diagonally  upward  and  above 
the  corner  of  the  roof  of  the  house  at  the  left.  The  roof  of  the 
house  in  the  centre  is  shaded ;  new  short  vertical  lines  are  at  the  base 
of  the  house  at  right,  in  the  water  between  the  corner  of  the 
house  and  the  first  post,  and  also  to  the  left  of  the  doorway  near  the 
gondola.  The  diagonal  lines  in  the  water  below  the  arch  have  been 
erased.  Twelve  short  dry-point  lines  are  added  to  the  heavy  shad¬ 
ing  in  the  water  at  left  centre,  three  quarters  of  an  inch  below  the 
gondola.  Mrs.  Robert  Bliss. 

VI.  The  dozen  lines  in  left  centre  are  nearly  worn  away.  The  slant¬ 
ing  lines  in  the  sky  have  been  erased  and  replaced  by  horizontal 
lines;  higher  up  and  over  the  roof,  to  within  an  inch  and  a  half 
of  the  left  edge  of  the  plate,  there  are  two  rows  of  diagonal  lines. 
Again,  diagonal  lines  are  in  the  water  under  the  bridge  to  the  right 
of  the  gondola,  and  there  is  new  work  in  the  shadow  under  the 
balcony.  Mrs.  M.  Hemenway. 

VII.  The  short  dry-point  lines  on  the  house  and  water  at  extreme  left 
have  been  erased,  as  have  some  of  the  diagonal  lines  to  the  right 
of  the  gondola  and  under  the  arch.  The  upper  row  of  diagonal  lines 
over  the  roof  has  disappeared,  and  the  lower  row  is  faint. 

VIII.  The  house  in  the  centre  is  shaded  by  thin  horizontal  lines ;  the  upper 
large  balcony  of  the  house  at  left  is  further  shaded  by  lines  run¬ 
ning  in  different  directions,  and  the  one  below  it  by  thin  horizontal 
lines.  There  is  new  work  in  the  arch,  in  the  shading  in  the  water 
(horizontal  and  diagonal  lines  at  left),  and  on  the  house  at  left, 
which  is  shaded  just  above  the  water  by  diagonal  lines.  These  lines 
run  across  the  doorway  to  the  gondola,  and  are  lost  in  the  shadow 
of  the  balcony.  H.  H.  Benedict. 

86 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IX.  The  house  in  the  centre  and  the  shadows  around  it  are  darkened 
by  complex  lines;  the  reflection  of  the  gondola  is  lengthened  by 
delicate  slanting  lines,  and  the  shading  in  the  water  to  the  right  of  it 
by  slanting  lines  running  from  right  to  left.  There  is  additional 
work  in  the  sky  and  on  the  balconies.  The  butterfly  is  below  at  the 
left.  F.  L.  Babhoit. 

One  of  the  “Twenty-six  Etchings.” 

203  Long  Lagoon.  M.  200.  Gr.  171.  w.  169. 

Height  6.  Width  9. 

I.  Before  the  butterfly. 

II.  With  the  butterfly.  W.  B.  O.  Field. 

One  of  the  “Twenty-six  Etchings.” 


204  The  Bridge.  M.  201.  Gr.  173.  W.  171. 

Height  11%.  Width  7%. 

I.  Before  the  short,  slightly  diagonal  dry-point  lines  above  the  gun¬ 
wale  of  the  boat  at  left;  the  woman  and  child  at  the  left  end  of  the 
bridge  are  in  outline.  There  is  no  shading  at  the  right  of  the  trees 
in  the  distance,  and  the  butterfly  is  faint  in  parts  and  not  shaded. 

II.  There  are  short  lines  above  the  gunwale  of  the  boat  at  left,  and  a 
few  very  short  lines  to  the  left  of  the  long  chimney  in  the  dis¬ 
tance.  W.  Dowdeswell. 

III.  The  butterfly  has  disappeared,  and  there  is  heavy  shading  on  the 
boat  at  left  and  in  the  water  to  the  right  of  it.  The  woman  with 
the  child,  at  the  left  end  of  the  bridge,  is  slightly  shaded  on  the  body, 
and  there  is  additional  work  at  the  base  of  the  chimney  at  left,  and 
on  the  woman  in  front  of  it;  there  is  a  slight  cloud  at  the  right  of 
the  long  chimney,  and  extra  shading  to  the  right  and  left  of  the  trees. 
W.  Dowdeswell. 


87 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IV.  There  are  two  small  groups  of  new  oblique  and  almost  horizontal 
lines  in  the  sky  above  the  long  chimney;  diagonal  lines,  below 
and  slightly  to  the  left  of  them,  touch  the  angle  of  a  roof. 

E.  G.  Kennedy. 

V.  The  butterfly,  heavily  shaded,  reappears  in  the  same  place  as  the 
first  one;  there  is  new  shading  on  the  boat  at  left,  and  in  the  water 
near  the  children;  irregular  vertical  lines  are  above  the  butterfly, 
and  horizontal  lines  to  the  left  of  the  trees  in  the  distance.  A  few 
touches  of  shading  are  here  and  there  on  the  left  bank  of  the  canal 
beyond  the  bridge.  A.  VV.  Scholle. 

VI.  New  lines  appear  in  the  water  to  the  right  of  the  gondolier,  also 
underneath  the  bridge;  there  is  additional  work  on  the  left  bank  of 
the  canal,  and  new  short  lines  are  in  the  sky  at  left.  H.  Mansfield. 

VII.  Many  of  the  finer  dry-point  lines  in  the  sky  and  elsewhere  are  almost 
worn  away.  The  horizontal  lines  just  above  the  stern  of  the  empty 
boat  at  left  have  been  lengthened ;  there  are  five  or  six  short  vertical 
dry-point  lines  in  the  water,  an  inch  and  a  quarter  below  the  nar¬ 
row  drapery  in  the  centre  of  the  bridge,  and  a  number  of  short 
horizontal  dry-point  lines  at  bottom,  to  the  right  of  the  gondola. 
H.  S.  Theobald. 

VIII.  Some  of  the  dry-point  lines  in  the  sky  and  water  have  been  re¬ 
moved,  and  some  have  worn  away,  leaving  the  plate  in  almost  the 
same  condition  as  i.  The  butterfly  is  faint. 

One  of  the  “Twenty-six  Etchings.” 


205  Upright  Venice.  M.  202.  Gr.  174.  W.  172. 

Height  10.  Width  7. 

I.  There  are  no  boats,  wharf,  etc.,  in  the  foreground. 

II.  The  wharf,  boats,  etc.,  are  introduced.  T.  J.  Coolidge,  Jr. 

88 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  The  lines  of  reflection  below  the  gondola  in  the  centre  are  lengthened. 
C.  W.  Kraushaar. 

IV.  The  reflections  underneath  the  gondola,  which  are  longer  than  in 
III,  are  cross-hatched.  Lenox  Library. 

One  of  the  “Twenty-six  Etchings.” 

206  The  Riva,  No.  2.  M.  203.  Gr.  177.  W.  175. 

Height  Width  12. 

I.  Before  the  two  lines  in  ii. 

II.  There  are  two  strong  slanting  lines,  one  on  each  side  of  the  lower 
left  corner.  B.  Lathrop.  [Detail.] 

One  of  the  “Twenty-six  Etchings.” 

Mr.  Walter  Dowdeswell  says  that  there  is  an  early  proof  without  the 
figure  of  the  woman  to  the  left  of  the  group  in  the  right  foreground. 

207  The  Balcony.  M.  204.  Gr.  179.  w.  177. 

Height  11%.  Width  7%. 

I.  The  woman  standing  in  the  left  of  the  doorway  is  faced  by  the  man 
in  the  gondola;  the  open  spaces  of  the  third  and  fourth  windows 
are  almost  entirely  unshaded.  E.  Deprez. 

II.  There  is  a  series  of  short  slanting  lines  in  front  of  the  second  figure 
in  the  window  at  the  right ;  in  the  next  one,  a  figure  is  lightly  drawn 
in;  and  in  the  centre  one,  a  row  of  short  slanting  lines  is  at  the  top. 
The  woman  in  the  doorway  and  the  man  in  the  boat  have  been 
erased  and  slightly  redrawn,  the  woman  being  now  at  the  right. 
Both  figures  have  been  partly  burnished  out.  There  is  a  series  of 
short,  faint  lines  above  the  head  of  the  shadowy  figure  at  right. 
Mrs.  H.  K.  Bartow. 

It  is  possible  that  a  state  exists  between  this  and  i. 

89 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  The  doorway,  the  woman  standing  in  it  at  right  with  arms  akimbo, 
and  the  man  in  the  boat,  are  strongly  reworked;  there  is  heavy 
shading  between  the  balusters  of  the  balcony,  and  on  the  open  win¬ 
dows  above;  the  light  space  over  the  doorway  at  left  is  shaded  with 
fine  lines.  Royal  Collection,  Windsor. 

IV.  The  woman  in  the  doorway  and  the  man  in  the  boat  have  again 
been  erased,  as  well  as  part  of  the  steps.  A  stout  woman  is  now 
at  the  left,  and  a  short  man,  or  youth,  with  legs  apart  and  hat  in 
hand,  is  in  the  gondola.  The  shading  and  figures  in  the  windows 
above  the  balcony  have  been  reduced — in  the  third  and  fourth  spaces 
almost  completely  burnished  out — and  the  fine  lines  above  the  arch 
of  the  doorway,  mentioned  in  in,  are  worn  away.  A  man  with  a 
wide-awake  hat  occupies  the  place  of  the  girl  in  the  second  window 
from  the  right.  T.  /.  Coolidge,  Jr. 

V.  The  figure  of  the  woman,  and  the  shading  in  the  doorway,  are 
reworked.  There  is  new  work  on  the  windows  above  the  balcony, 
and  new  short  lines  at  the  right  shoulder  of  the  man  in  the  gondola, 
and  in  the  shadow  behind  him.  The  late  W.  S.  Carter. 

VI.  The  steps  are  redrawn,  except  the  lower  one;  the  short  lines  at  the 
bottom  of  the  second  window  from  the  right,  above  the  balcony, 
have  almost  disappeared.  W.  Dowdeswell. 

VII.  The  woman,  who  is  now  more  graceful  and  elegant,  is  more  heavily 
shaded,  also  the  doorway ;  the  steps  are  completed,  and  there  is  more 
work  on  the  man  in  the  gondola;  the  reflections  are  strengthened 
by  new  short  vertical  and  slanting  lines.  There  are  irregular  di¬ 
agonal  lines  in  the  second  window  from  the  right. 

/.  T.  Pollitt. 

VIII.  The  woman  has  been  burnished  out,  and  replaced  by  another  who 
stands  almost  in  the  centre  of  the  doorway.  Directed  slightly  to 
left  and  facing  front,  she  wears  a  light  dress  and  holds  a  large 
pitcher,  indistinctly  expressed,  in  her  left  hand.  Some  of  the  lines 


90 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


in  the  reflections  below  the  doorway  have  been  erased,  and  others 
added.  Two  children  are  in  the  window  at  the  right;  there  is  ad¬ 
ditional  shading  in  the  next  two  windows,  on  the  drapery  hanging 
on  the  balcony,  and  over  the  arch  of  the  doorway,  at  left. 

0.  Gutekunst. 

IX.  The  head,  features,  and  figure  of  the  woman  are  more  clearly 
modelled,  and  the  pitcher  is  heavily  shaded.  There  are  slanting 
lines  below  the  skirt,  which  has  now  a  dark  border,  and  there  is 
additional  work  in  the  doorway.  H.  Mansfield. 

X.  There  is  additional  shading  on  the  woman  in  the  doorway ;  the  work 
on  the  jar  has  been  reduced,  new  fine  lines  having  been  used  in  the 
reworking.  The  shading  in  the  doorway  is  slightly  changed;  two 
short  curved  lines  are  on  the  front  of  the  gown,  about  one  eighth 
of  an  inch  from  the  edge.  These  lines  are  also  on  xi,  but  not  on  ix. 

XI.  The  shading  in  the  two  windows  at  right  has  been  partly  burnished 
out.  The  waist  of  the  gown  of  the  woman  in  the  doorway  is  black, 
and  the  skirt  is  more  heavily  shaded.  Bryan  Lathrop. 

One  of  the  “Twenty-six  Etchings.” 


208  Fishing-Boat.  M.  205.  Gr.  180.  W.  178. 

Height  6^.  Width  9%. 

I.  The  face  of  the  man  in  the  boat  is  white.  The  butterfly  is  at  the 
extreme  right,  an  inch  and  a  half  from  the  bottom;  the  plate  is  not 
cleaned. 

II.  There  are  fine,  short  oblique  lines  on  the  net,  and  short  diagonal 
lines  on  the  upper  part  of  the  awning,  aft,  also  new  lines  on  the 
breast  and  shoulders  of  the  man.  W.  B.  0.  Field. 

III.  The  butterfly  has  been  removed  and  the  plate  cleaned.  Strong 
oblique  lines,  running  from  right  to  left,  are  on  the  awning  between 
the  man’s  head  and  the  foremast. 


91 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IV.  The  man’s  face  is  now  dark,  owing  to  printing;  the  lines  of  the 
awning  over  and  to  the  right  of  his  head  have  been  rubbed  down  and 
are  confused.  H.  Mansfield. 

V.  Slanting  lines  on  the  upper  part  of  the  awning  near  the  high  mast 
have  replaced  those  of  similar  character  which  have  worn  away. 
Another  series  of  lines  is  on  the  awning,  over  and  to  the  right  of 
the  man’s  head,  the  complex  work  having  previously  been  partly 
erased.  H.  B.  Dick. 

One  of  the  “Twenty-six  Etchings.” 


209  Ponte  del  Piovan.  M.  206.  Gr.  181.  W.  179. 

Height  9.  Width  6. 

I.  Before  clouds  in  the  sky;  before  any  shading  on  the  doorway,  etc., 
under  the  bridge;  the  roof  under  the  balcony_above  the  bridge 
is  only  partly  drawn.  The  late  Otto  H.  Bacher. 

II.  There  are  clouds  in  the  sky,  the  roof  under  the  balcony  is  completed, 
and  there  are  indications  of  a  tall  third  figure  to  the  left  of  the  two 
already  on  the  centre  of  the  bridge.  New  work  all  over  the  plate. 

III.  There  is  more  shading  in  the  water  at  lower  right;  a  small  boy  is 
now  in  the  centre  of  the  bridge,  instead  of  the  tall  figure. 

H.  L.  Quick. 

IV.  There  are  a  number  of  short  horizontal  lines  in  the  sky;  there  is 
new  work  on  the  top  of  the  parapet  of  the  bridge;  vertical  lines 
are  on  the  lower  part  of  it,  and  also  on  the  supporting  timbers. 
Short  lines  shade  the  top  of  a  window-frame  just  above  the  bridge, 
at  left.  W.  Dowdeswell. 

V.  The  horizontal  lines  in  the  sky  and  in  the  water  at  lower  right  have 
been  removed;  also  the  figure  of  the  small  boy,  and  part  of  the  lines 
on  the  corner  of  the  window  mentioned  in  iv. 


92 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


VI.  There  are  longer  lines  on  the  corner  of  the  window  mentioned  in 
V,  and  new  vertical  lines,  at  centre  and  right,  in  the  reflection  of  the 
arch. 

One  of  the  “Twenty-six  Etchings.” 

210  Garden.  M.  207.  Gr.  182.  W.  180. 

Height  12.  Width  g%. 

I.  There  are  two  boys  on  the  steps.  T.  J.  Coolidge,  Jr. 

II.  A  good  deal  of  the  shrubbery,  the  boy  high  up  on  the  steps,  and  the 
short  vertical  lines  in  the  water,  have  been  erased.  Mrs.  Touzalin. 

III.  The  shrubbery  has  been  redrawn,  the  shadow  of  the  doorway  re¬ 
worked,  and  the  figures  in  it  changed.  W.  Dozvdeswell. 

IV.  A  cat  has  taken  the  place  of  the  boy,  and  the  steps  are  drawn  to¬ 
gether  ;  the  figure  in  the  doorway,  at  right,  is  in  higher  light,  and  the 
attitude  is  slightly  changed.  H.  Mansfield. 

V.  New  lines  are  here  and  there  on  the  steps  and  on  the  shrubbery,  and 
additional  diagonal  lines  are  inside  the  lower  part  of  the  gateway,  at 
right.  T.  J.  Coolidge,  Jr. 

VI.  There  are  short  horizontal  lines  above  the  shrubbery,  at  right,  and 
new  horizontal  lines  at  the  right  of  the  doorway,  between  the 
two  trees.  The  late  W.  S.  Carter.  [Detail.] 

VII.  The  back  of  the  cat  is  more  shaded;  the  lines  mentioned  in  vi,  and 
part  of  the  shrubbery  on  each  side,  have  been  erased ;  the  diagonal 
lines  mentioned  in  v,  partly  so.  The  figures  in  the  doorway  are 
changed  again,  and  there  is  new  work  on  the  shrubbery.  The  door¬ 
jamb  at  left  is  lightly  shaded.  /.  Caldwell. 

VIII.  Above  the  right  upper  corner  of  the  gateway  there  are  a  few  short 
irregular  lines.  There  is  new  work  on  the  shrubbery  at  the  right, 
which  is  carried  further  up  the  plate;  the  door-jamb  at  the  left  of 
the  figures  is  now  heavily  shaded,  and  there  are  more  leaves  or 


93 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


flowers  over  the  head  of  the  woman  with  the  baby.  The  figures  and 
background  in  the  doorway  seem  to  have  been  reduced  by  charcoal. 

One  of  the  “Twenty-six  Etchings.” 

211  The  Rialto.  M.  208.  Gr.  183.  W.  181. 

Height  11^4.  Width  7%- 

I.  There  are  faint  figures  and  foul  biting  in  the  foreground. 

H.  B.  Dick. 

II.  The  foul  biting  and  faint  figures  have  been  erased. 

Not  reproduced. 

One  of  the  “Twenty-six  Etchings.” 

212  Long  Venice.  M.  209.  Gr.  184.  W.  182. 

Height  5.  Width  1234- 

I.  The  two  domes  do  not  touch  each  other.  Before  the  large  dome 
was  reduced  in  size.  H.  S.  Theobald. 

II.  The  sky  is  partly  burnished  out  at  the  right,  and  a  few  horizontal 
dry-point  lines  are  added.  The  domes  are  altered  in  form  and  size, 
and  one  overlaps  the  other.  A  few  short,  almost  vertical  lines  are  in 
the  sky  at  the  right  of  the  domes.  H.  Wunderlich  &  Co. 

III.  The  domes  have  again  been  altered  and  are  partly  burnished  out; 
the  dozen  or  so  of  short,  almost  vertical  lines  in  the  sky  to  the  right 
of  the  domes  (see  ii)  are  almost  worn  away.  The  marks  of  the 
burnisher  at  bottom  have  been  erased.  (See  i  and  ii.) 

W.  Dowdeswcll. 

IV.  The  domes  have  again  been  altered  and  are  still  vague.  [Detail.] 

v.  The  outlines  of  both  domes  are  more  defined,  the  larger  one  having 
been  slightly  reduced  in  size.  A.  J.  Parsons. 


One  of  the  “Twenty-six  Etchings.” 

94 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


213  Nocturne:  Furnace.  M.  210.  Gr.  185.  W.  183. 

Height  6%.  Width  g%. 

I.  There  are  only  short  vertical  lines  on  the  front  of  the  house;  the 
figure  in  the  interior  does  not  wear  an  apron,  is  taller,  and  stands 
further  back  than  in  the  later  impressions.  G.  W.  Vanderbilt. 

II.  The  figure  has  been  removed,  and  a  shorter  one,  with  a  cap  and 
apron,  stands  nearer  the  doorway;  the  windows  above  his  head  are 
not  so  positive  as  in  i.  There  is  additional  work  all  over  the  front 
of  the  house,  and  diagonal  lines  are  in  the  water  below  the  left  of  the 
doorway.  A.  W.  Scholle. 

III.  Strong  slanting  lines  are  added  to  the  reflections  below  the  right 
of  the  doorway.  H.  L.  Quick. 

IV.  Horizontal  lines  intensify  the  reflections  below  the  left  of  the 
doorway;  new,  slightly  slanting  lines  run  from  below  the  butterfly 
to  the  gondola.  There  is  closer  work  all  over  the  front  of  the  house. 
The  heavy  slanting  lines  in  the  water  at  the  right  of  the  doorway  are 
now  faint.  H.  B.  Livingston. 

V.  New  vertical  and  horizontal  lines  are  at  lower  right,  and  additional 
lines  are  on  the  triangular  shading  behind  the  man. 

C.  W.  Kraushaar. 

VI.  Additional  diagonal  lines  darken  the  reflections  on  each  side  of 
the  doorway.  B.  Lathrop. 

VII.  Short  slanting  lines,  from  left  to  right,  are  added  to  the  reflections 
below  the  centre  of  the  doorway.  Short  diagonal  lines  on  the  house 
run  into  the  water,  between  the  gondola  and  the  doorway.  There 
is  new  work  on  the  window-frame  to  the  right  of,  and  above,  the 
boy’s  head,  and  fine  slanting  lines  are  in  the  centre,  at  top,  and  at 
upper  right.  Mrs.  H.  K.  Knapp. 

One  of  the  “Twenty-six  Etchings.” 

95 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


214  Quiet  Canal.  M.  211.  Gr.  186.  W.  184. 

Height  9.  Width  6. 

I.  There  are  three  prows  on  the  gondola  with  the  man  in  it,  two  of 
them  somewhat  shadowy.  B.  Lathrop. 

II.  The  two  shadowy  prows  are  almost  erased,  also  some  of  the  lines 
on  the  remaining  prow ;  the  shading  on  the  central  house  is  reduced, 
particularly  the  heavy  shadow  under  a  window  in  the  third  storey. 
Obach  &  Co. 

III.  The  bow  of  the  gondola  with  the  man  in  it  has  a  light  space 
almost  clear  of  lines;  there  are  about  a  dozen  nearly  vertical  deli¬ 
cate  dry-point  lines  on  a  space  amongst  the  foliage  over  the  second- 
storey  window  at  right,  also  heavy  vertical  lines,  in  three  groups, 
in  the  foreground.  W.  Dozodeszvell. 

IV.  The  light  space  on  the  bow  of  the  gondola  is  heavily  shaded;  the 
dry-point  lines  in  the  foreground  have  been  reduced.  A  few  short 
vertical  lines  are  now  at  the  right  of  the  door  of  the  centre  house, 
and  the  lines  in  the  foliage  (see  iii)  are  nearly  worn  away. 

7.  Caldzvell. 

v.  The  dry-point  lines  in  the  foreground  have  been  erased. 

77.  Mansfield. 

One  of  the  “Twenty-six  Etchings.” 

215  La  Salute:  Dawn.  M.  212.  Gr.  187.  W.  185. 

Height  4%.  Width  7%. 

I.  There  is  a  gondola  below  the  campanile  at  the  left;  before  any  lines 
in  the  sky.  W.  Dozadeszvell. 

II.  The  gondola  has  been  removed.  There  are  short  horizontal  lines 
in  the  sky  above  the  steamer;  also  numerous  additions  to  the  re¬ 
flections  from  the  buildings.  Fine  varied  horizontal  dry-point  lines 
are  now  in  the  water ;  foul  biting  in  upper  left  corner. 

W.  Dozvdeswell. 


96 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


III.  There  are  additional  lines  in  the  water  in  the  foreground,  and  short 
crossed  lines  in  the  sky,  an  inch  from  the  right,  touching  the  build¬ 
ings.  H.  Wunderlich  &  Co. 

IV.  The  clouds  and  many  of  the  lines  of  shading  in  the  water  have 
been  erased. 

One  of  the  “Twenty-six  Etchings.” 

216  Lagoon:  Noon.  M.  213.  Gr.  188.  W.  186. 

Height  5.  Width  8. 

I.  There  is  a  positive  black  mark,  like  a  shuttlecock,  in  the  upper  left 
corner,  and  there  are  ratlines  on  the  shrouds  of  the  mainmast  of 
the  brigantine.  W.  Dowdeswell. 

II.  There  are  additional  lines  of  reflection  from  the  gondola  and  ship¬ 
ping;  there  are  new  lines  in  the  sky,  between  the  trees,  which  are 
suggested  at  extreme  right,  and  the  mainmast  of  the  brigantine.  The 
mark  in  upper  left  corner  has  been  erased.  There  is  new  work  on  the 
vessel  at  the  extreme  left,  and  on  the  brig  at  the  extreme  right. 
H.  Mansfield. 

III.  The  ratlines  (see  i),  and  almost  all  the  lines  of  reflection  of  the 
two  large  vessels  and  the  gondola,  have  been  removed.  The  butter¬ 
fly,  very  faint,  is  at  lower  left.  Lenox  Library. 

The  number  “i86”  in  upper  left  corner  refers  to  the  number  in  Wed- 
more’s  Catalogue,  and  was  written  in  pencil  by  Mr.  Avery.  Mr.  John  H. 
Wrenn  has  an  impression  with  the  butterfly  clearly  defined. 

One  of  the  “Twenty-six  Etchings.” 

217  Glass-Furnace,  Murano.  M.  214.  Gr.  189.  W.  187. 

Height  6J4.  Width  934- 

I.  Before  the  work  mentioned  in  ii.  H.  B.  Dick. 

II.  Slanting  lines  are  at  the  right  of  the  door  or  window,  below,  at  left, 
also  at  the  right  of  the  second  window  above.  The  head  of  the  man 

97 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


who  stands  opposite  to  the  seated  one  is  now  defined ;  stronger  and 
longer  lines  are  above  his  shoulder.  There  is  slight  additional  work 
on  the  heads  of  some  of  the  men  at  left.  Lenox  Library. 

III.  There  is  cross-hatching  around  the  windows  and  in  the  back¬ 
ground;  new  touches  here  and  there  all  over  the  plate. 

The  late  Sir  J.  C.  Day. 

IV.  Heavy  slanting  lines,  running  in  various  directions,  darken  the  back¬ 
ground.  H.  C.  Theobald. 


218  Fish-Shop,  Venice.  M.  215.  Gr.  190.  W.  188. 

Height  51/8.  Width  8%. 

I.  There  are  no  short  vertical  diy-point  lines  at  the  top  of  the  plate, 
except  in  the  centre.  The  figure  and  the  articles  in  the  fish  shop 
appear  to  be  partly  burnished  out.  G.  W.  Vanderbilt. 

II.  The  short  vertical  dry-point  lines  now  extend  almost  across  the 
top;  there  are  dry-point  lines  at  the  feet  of  the  woman  near  the 
steps,  and  on  the  pavement,  which  do  not  appear  in  any  of  the  other 
impressions.  There  are  new  lines  in  the  arch  of  the  bridge,  and 
a  bearded  man  is  seated  in  the  shop,  which  is  completed. 

III.  The  lower  part  of  the  window  of  the  shop  has  been  burnished  out ; 
the  lines  in  the  arch  at  the  right,  partly  so,  and  a  few  long  oblique 
dry-point  lines  are  added.  The  lines  at  the  woman’s  feet  and  in 
the  street  have  been  removed.  /.  A.  Weir. 

IV.  The  new  figure  in  the  shop  is  lightly  etched,  and  reinforced  with 
sepia,  as  is  the  remainder  of  the  impression,  except  at  the  bottom. 
H.  H.  Benedict. 

V.  The  man,  boy,  and  the  interior  of  the  shop  are  fully  expressed,  and 
the  ceiling  is  elaborately  cross-hatched ;  there  is  new  work  at  the  feet 
of  the  man  on  the  steps,  also  behind  and  above  him.  Fine  dry-point 

98 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


lines  are  at  the  left  of  the  window,  above  the  butterfly;  the  shadow 
in  the  large  archway  has  been  lightened,  and  there  are  new  lines 
on  the  lamp.  Obach  &  Co. 

VI.  The  figures  behind  the  man  on  the  steps,  and  the  work  at  the 
right  of  them,  have  been  partly  erased;  the  shadows  in  the  arch¬ 
way  have  been  darkened  by  fine  lines  running  in  every  direction, 
as  has  the  ceiling  of  the  shop.  New  cross-lines  are  in  the  arch  at 
right.  The  lamp  has  been  erased,  and  then  redrawn. 

Lenox  Library. 

VII.  There  are  new  thin  slanting  lines  in  the  arch  at  right,  and  thin  ver¬ 
tical  lines  in  the  water  at  left,  centre,  and  between  the  passageway 
and  shop  window.  H.  B.  Dick. 


219  The  Dyer.  M.  216.  Gr.  191.  W.  189. 

Height  11%.  Width  9%. 

I.  The  dyer’s  nose  is  large.  The  background  in  the  doorway  is  loosely 
expressed.  H.  Mansfield. 

II.  Cross-lines,  from  left  to  right,  enrich  the  shading  of  the  interior; 
the  dyer’s  left  leg  is  clearly  modelled  and  his  nose  reduced  in  size. 
Short  horizontal  and  other  lines  add  to  the  dyer’s  reflection. 

Mrs.  H.  0.  Havemeyer. 

III.  To  the  left  of  the  dyer’s  foot,  which  is  now  clearly  modelled  and 
is  narrower,  are  several  short,  thick,  slanting  dry-point  lines. 

A.  W.  Scholle. 

IV.  The  legs  of  the  dyer  are  almost  erased,  and  the  white  space  to  the 
left  of  his  head,  which  has  again  been  altered,  is  larger.  There  is  a 
series  of  fine  diagonal  lines,  from  left  to  right,  added  to  the  shading 
in  the  doorway,  and  a  few  short,  thick  dry-point  lines  on  the  face  of 
the  step  next  the  water.  The  contour  of  the  nose  is  again  altered. 
H.  B.  Dick. 


99 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


220  Little  Salute,  m.  217.  Gr.  192.  w.  190. 

Height  3%6.  Width  8%6. 

I.  Before  the  butterfly.  The  reflection  of  the  Salute  is  expressed  by 
two  series,  unequal  in  length,  of  short  horizontal  lines. 

Lenox  Library. 

II.  The  reflections  of  the  Salute  consist  of  four  series  of  short  broken 
lines;  horizontal  lines  shade  the  smaller  dome;  the  yards  on  the 
masts  of  the  ships  in  front  of  the  Salute  are  now  drawn  in.  There 
is  extra  work  on,  and  reflections  from,  the  gondola  above  the  butter¬ 
fly,  which  is  at  the  right.  P.  Lorillard. 


221  Wool-Carders.  M.  218.  Gr.  193.  W.  191. 

Height  II  Width  9. 

I.  There  is  a  space  that  is  almost  clear,  above  and  behind  the  seated 
man.  The  figure  at  right  is  taller  than  in  ii.  H.  Mansfield. 

II.  The  figures  have  been  erased  and  replaced  by  two  others,  and  there 
is  heavy  shading  around  the  standing  one.  The  space  behind  the 
seated  man  is  almost  covered  by  fine  slanting  lines. 

Mrs.  H.  O.  Havemeyer. 

III.  The  figures  have  been  partly  burnished  out,  and  the  space  behind  the 
seated  man  is  further  shaded  by  fine  lines.  B.  Lathrop. 


222  Islands.  M.  219.  Gr.  195.  w.  193. 

Height  5.  Width  7%. 

I.  There  are  spots  of  foul  biting  on  the  plate.  Lenox  Library. 

II.  The  foul  biting  and  several  scratchy  lines  have  been  removed ;  a 
number  of  slight  broken  lines  have  been  added  in  the  water  at  the 
left.  H.  Mansfield. 


I(X) 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


223  Nocturne:  Shipping.  M.  220.  Gr.  196.  W.  194. 

Height  6.  Width  8%. 

I.  Before  the  plate  was  cleaned,  and  before  the  work  was  carried  to 
the  left  edge  of  it.  Royal  Collection,  Windsor. 

II.  There  are  new  lines  in  the  sky  and  in  the  water.  The  plate  is 
cleaned,  and  the  work  extends  to  the  left  edge.  H.  Mansfield. 

III.  Only  two  of  the  short  lines  in  the  middle  of  the  sky  are  left;  a  fore¬ 
yard  has  been  added  to  the  ship  at  right;  other  slight  changes. 
Royal  Collection,  Windsor. 

IV.  There  are  six  new  vertical  lines  in  the  water  at  extreme  left. 

Dr.  H.  McM.  Painter. 

V.  Slanting  lines,  from  left  to  right,  are  on  the  hull  of  the  vessel  at 
right;  the  other  vessels  have  been  strengthened  and  their  reflec¬ 
tions  altered.  H.  Wunderlich  &  Co. 

VI.  There  is  a  new  series  of  lines  on  the  vessels  at  the  right,  and  the  re¬ 
flections  of  those  in  the  centre  are  more  positive;  a  dome  is  added 
in  right  centre.  The  late  Sir  J.  C.  Day. 

224  Old  Women,  m.  221.  Gr.  197.  w.  195. 

Height  478.  Width  778- 

I.  There  are  no  cross-lines  on  the  shading  in.  the  doorway. 

Lenox  Library. 

II.  There  is  cross-hatching  in  the  two  doorways  and  in  the  window 
with  the  flower-pot;  the  fanlight  over  the  door  at  the  right  has 
additional  shading.  Mrs.  H.  0.  Haverneyer. 

225  Stables.  M.  222.  Gr.  200.  W.  198. 

Height  678.  Width  9. 

I.  Before  the  cross-lines  in  the  upper  part  of  the  doorway. 

H.  Mansfield. 


lOI 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  There  is  cross-hatching  on  the  shadow  in  the  doorway,  except  on  a 
little  white  spot  near  the  centre.  Mrs.  H.  0.  Havemeyer. 

III.  The  white  spot  is  shaded.  There  is  more  shading  on  the  body  of 
the  man,  and  the  hair,  or  a  cap,  is  brought  down  over  his  forehead, 
making  the  face  smaller  and  triangular  in  form.  T.  J.  Coolidge,  Jr. 

226  Nocturne:  Salute.  M. 223.  Gr.  201.  W.  199. 

Height  6.  Width  8%. 

I.  The  reflections  of  the  Salute  extend  below  the  upper  lines  of  ripple 
in  the  water.  H.  Mansfield. 

II.  Part  of  the  fagade  and  of  the  reflection  of  the  Salute  are  burnished 
out.  F.  G.  Macomber. 

III.  The  lines  of  reflection  of  the  Salute,  at  left,  are  slightly  lengthened; 
a  few  short  dry-point  lines  have  been  added  to  the  centre  of  the  re¬ 
flection  of  the  gondola.  Mrs.  H.  0.  Havemeyer. 

IV.  There  is  new  work  on  the  fagade  of  the  Salute.  H.  Mansfield. 
[Detail.] 

V.  The  Salute  is  covered  with  fine  slanting  lines ;  additional  horizontal 
lines  are  at  lower  left,  near  the  butterfly.  F.  G.  Macomber. 

227  Gondola  under  a  Bridge,  m.  224.  Gr.  204. 

Height  11%.  Width  7%. 

H.  Mansfield. 

228  The  Steamboat,  Venice.  M.  225.  Gr.  205. 

Height  10%.  Width  7]4- 

I.  Before  the  changes  noted  in  ii.  H.  S.  Theobald. 

II.  The  figures  in  the  centre  and  at  the  left,  on  the  line  intended  to 
express  a  quay,  are  removed,  and  the  lower  part  of  the  plate  is 
cleaned.  Obach  &  Co.  [Detail.] 

In  the  original  impression  the  marks  of  the  burnisher  are  noticeable. 


102 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 

229  Shipping,  Venice.  M.  226.  Gr.  207. 

Height  11%.  Width  8/4- 

The  word  “Otto”  was  written  on  the  original  impression  by  the  late 
Mr.  Bacher,  who  owned  it  at  one  time. 

230  Venetian  Court.  M.  227.  Gr.  203. 

Height  ii^.  Width  y%. 

I.  Before  the  horizontal  lines,  etc.,  mentioned  in  ii.  H.  Mansfield. 

II.  The  shading  in  the  roof  of  the  passageway  is  deepened  by  hori¬ 
zontal  lines,  except  at  the  right  top,  where  slanting  lines  are  used; 
new  lines — upright,  slanting,  and  horizontal — are  at  the  left  of  the 
cap  of  the  pillar  at  right.  H.  Wunderlich  &  Co. 

231  Venice.  M.  228.  Gr.  202.  Sup.  361. 

Height  7%.  Width  ii%6. 

This  plate,  which  was  never  finished,  was  destroyed  after  five 
or  six  proofs  had  been  taken.  There  is  an  impression  in  the  Avery 
collection  in  the  Lenox  Library,  one  in  Washington,  and  one  was 
owned  by  the  late  Mr.  Otto  H.  Bacher. 

Mr.  Bacher’s  is  undoubtedly  very  early,  having  a  number  of 
scratches — accidental  apparently — which  are  not  on  the  other  im¬ 
pressions.  The  actual  work  on  all  of  them  is  the  same;  the  thick 
lines  on  the  larger  dome  in  the  Avery  impression  are  drawn  in  ink 
over  the  etched  lines. 

232  Venetian  Water-Carrier.  M.  229.  Gr.  206. 

Height  7^%6-  Width  5. 

H.  Mafisfield. 

233  Wheelwright.  M.  230.  Gr.  164.  W.  162. 

Height  4%.  Width  6%. 

I.  The  shadow  under  the  roof  is  light,  and  is  formed  by  slanting  lines 
running  in  different  directions.  W.  Doivdeswell. 


103 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  shading  under  the  roof  is  darkened  by  perpendicular  lines; 
there  is  more  shading  in  and  behind  the  wagon.  IV.  Dowdeswell. 

III.  The  cover  of  the  wagon  is  further  shaded  and  the  shadow  in  the 
wagon  itself  made  more  definite.  The  right  leg  of  the  man  to  the 
left  of  the  wagon  is  partly  burnished  out,  and  the  beam  which  runs 
from  the  head  of  the  man  standing  upright  and  holding  a  wheel, 
to  the  cross-beam,  is  slightly  shaded  at  the  top.  W.  Dowdeswell. 

IV.  Short  lines  radiate  around  the  man  with  the  wheel  (see  iii),  and 
around  the  man  at  extreme  right.  H.  H.  Benedict. 

V.  Delicate  cross-lines  are  at  the  right  of  the  head  of  the  man  at  ex¬ 
treme  right,  and  some  long  and  some  delicate  complex  lines  to  the 
left  of  the  man  standing  at  the  wheel.  There  are  a  few  short  slant¬ 
ing  lines,  from  left  to  right,  at  upper  left  and  on  the  beams. 

Lenox  Library. 

One  of  the  “Twenty-six  Etchings.” 


234  Temple.  M.  231.  Gr.  172.  W.  170. 
Height  4.  Width  6. 

One  of  the  “Twenty-six  Etchings.” 


235  Lobster- Pots.  M.  233.  Gr.  176.  W.  174. 

Height  4%.  Width  7%. 

I.  There  are  two  figures  at  right  centre,  in  the  distance,  and  four  sail¬ 
ing  vessels,  somewhat  shadowy,  at  the  left.  W.  Dowdeswell. 

II.  The  figures  and  vessels  have  been  removed;  two  new  vessels  are 
now  in  the  distance.  W.  Dowdeswell.  [Detail.] 

III.  The  vessels  have  been  burnished  out. 

One  of  the  “Twenty-six  Etchings.” 

104 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


236  Little  Court,  m.  232.  Gr.  175.  w.  173. 

Height  4%.  Width  6%. 

One  of  the  “Twenty-six  Etchings.” 

237  Drury  Lane.  M.  234.  Gr.  178.  W.  176. 

Height  6%.  Width  4. 

One  of  the  “Twenty-six  Etchings.” 

238  Alderney  Street.  M.  236.  Gr.  198.  W.  196. 

Height  7.  Width  4%. 

I.  Before  any  lettering.  Mrs.  E.  B.  Holden. 

II.  Engraved  on  the  lower  edge,  at  left,  “Gazette  des  Beaux- Arts” ;  at 
right,  “Imp.  Cadart.” 

Published  in  the  “Gazette  des  Beaux- Arts”  for  April,  1881. 

Not  reproduced. 

239  Regent’s  Quadrant.  M.  235.  Gr.  194.  w.  192. 

Height  6%6.  Width  4^M.6- 

I.  There  are  figures  in  the  foreground  to  the  left  of  the  pillar.  The 
elbow  or  support  of  the  balustrade  has  only  one  line,  from  the 
shading  above,  to  the  cap  of  the  pillar.  H.  B.  Dick. 

II.  The  balusters  at  left  top  are  shaded;  there  is  heavy  shading  below 
them,  and  slight  additional  work  on  the  pillar.  The  outside  line  of 
the  elbow  of  support  is  indicated.  Lenox  Library. 

III.  The  figures  to  the  left  of  the  pillar,  which  has  been  shortened,  have 
been  removed,  also  two  figures  in  the  foreground  at  the  right.  A 
faint  figure  of  a  little  girl  now  stands  between  the  lady  and  the 
running  boy  in  the  centre.  The  outside  line  of  the  elbow  of  support 
touches  the  cap  of  the  pillar.  H.  Mansfield. 

105 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


IV.  Short  dry-point  lines,  from  left  to  right,  accent  the  shading  of  the 
roof  of  the  hansom  at  left;  the  little  girl  is  more  clearly  expressed, 
and  there  are  slight  changes  on  the  cap  of  the  pillar  and  on  the  line 
of  the  elbow.  H.  Wunderlich  &  Co. 


240  The  Smithy,  m.  237.  Gr.  199.  w.  197. 

Height  6%.  Width  8%. 

I.  Before  the  cross-lines  at  the  upper  edge.  The  late  W.  S.  Carter. 

II.  Short  diagonal  lines,  running  from  left  to  right,  are  added  at  the 
top,  from  centre  to  right.  H.  Mansfield. 

III.  The  sketchy  standing  figure  at  the  left  of  the  butterfly  is  partly 
erased,  and  there  is  closer  work  on  the  large  beam  in  the  ceiling. 
There  are  new  lines  on  the  hip  of  the  man  at  right.  C.  Buckingham. 

IV.  The  upper  part  of  the  figure  at  right  is  entirely  erased.  There  is 
additional  work  all  over  the  centre  of  the  ceiling,  including  the 
material  stacked  above  the  cupboard  in  centre,  the  white  spot  on 
which  is  now  shaded.  There  is  shading  on  the  flue,  etc.,  above  the 
forge  at  right.  The  late  Sir  J.  C.  Day. 

V.  The  work  on  the  ceiling  and  door  has  been  reduced ;  fine  lines,  run¬ 
ning  in  all  directions,  have  given  the  work  a  grayer  effect. 

Royal  Collection^  Windsor. 


241  Swan  AND  Iris.  M.  238.  Gr.  335.  Sup.  310. 

Height  5^4.  Width  334- 

I.  Before  the  slanting  lines  in  the  water  beneath  the  bank  at  left,  etc. 

II.  Slanting  lines  are  added  to  the  reflections  of  the  shore  at  left;  the 
sails  on  the  boat  are  completely  shaded.  The  fine  lines  are  worn. 

Etched  from  a  painting  by  Cecil  Lawson,  and  published  in  "Cecil 
Lawson,  a  Memoir,”  by  Edmund  W.  Gosse.  London,  1883. 

106 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


242  Dordrecht.  M.  239.  Gr.  208.  W.  200. 

Height  5%.  Width  8%. 

I.  The  mainsail  and  jib  of  the  large  sloop  are  not  shaded. 

H.  Mansfield. 

II.  The  mainsail  and  jib  are  shaded  with  dry-point  lines. 

243  Little  Dordrecht.  M.  240.  Gr.  295. 

Height  3%.  Width  5^. 

244  Boats,  Dordrecht,  m.  241.  Gr.  296. 

Height  2%.  Width  3%- 

245  The  Little  Wheelwright’s.  M.  242.  Gr.  294. 

Height  2%.  Width  3%. 

246  A  Sketch  at  Dieppe.  M.  244.  Gr.  210.  W.  202. 

Height  2.  Width  3^. 

I.  The  butterfly  is  in  outline.  H.  Mansfield. 

II.  The  butterfly  is  shaded.  Ralph  H.  Booth. 

247  Dray-Horse,  Paris.  M.  436.  Gr.  347. 

Height  3^4-  Width  2. 

The  signature  at  bottom,  on  the  impression  reproduced,  is  written  in 
pencil  by  Whistler. 

248  A  Corner  of  the  Palais  Royal,  m.  243.  Gr.  209.  W.  201. 

Height  5^.  Width  3%. 

I.  Before  the  work  described  in  ii.  The  late  Sir  John  C.  Day. 

II.  Slanting  lines,  from  right  to  left,  cross  the  existing  lines  below 
and  to  the  right  of  the  lamp;  the  lines  in  the  lower  part  of  the  win¬ 
dow  in  centre  are  much  worn,  as  is  the  rest  of  the  plate. 

Lenox  Library. 


107 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


249  Booth  AT  A  Fair.  m.  245.  Gr.  211.  w.  203. 

Height  5%.  Width  3%. 

250  Cottage  Door.  M.  246.  Gr.  212.  W.  204. 

Height  2%.  Width  3%. 

I.  Before  the  work  described  in  ii.  H.  Mansfield. 

II.  The  covering  on  the  head  of  the  girl  at  the  right  is  shaded,  and  her 
eyes,  nose,  and  mouth  are  more  distinct.  The  hat  of  the  child  in  the 
centre  is  defined  by  a  heavy  line,  and  her  breast  is  covered  with 
slightly  slanting  lines.  The  leg  of  the  girl  at  left  is  darkened  by 
short  lines,  and  is  more  clearly  defined.  C.  Buckingham. 

251  The  Village  Sweet-Shop.  M.  247.  Gr.  213.  W.  205. 

Height  3%.  Width  4%. 

252  The  Seamstress.  M.  248.  Gr.  214.  w.  206. 

Height  3%.  Width  2%. 

I.  The  chin  of  the  seated  girl  is  retreating;  the  hair  on  the  top  of  her 
head  is  expressed  by  clear,  short  lines.  H.  Mansfield. 

II.  The  contour  of  the  face  of  the  seamtress  is  changed ;  the  hair  on  the 
top  of  her  head  is  partly  burnished  out,  etc.  /.  Caldwell. 

253  The  Bonnet-Shop.  M.  249.  Gr.  339. 

Height  3%.  Width  2%. 

Reproduced  from  an  impression  from  the  cancelled  plate. 

254  The  Towing-Path.  M.  250.  Gr.  217. 

Height  1%.  Width  3%. 

255  Sketch  in  St.  James’s  Park.  M.  251.  Gr.  215.  W.  207. 

Height  2%.  Width  3%. 

108 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


256  A  Fragment  of  Piccadilly.  M.  252.  Gr.  216.  W.  208. 

Height  4%.  Width  2%. 

257  Old-Clothes  Shop,  No.  1.  M.  253.  Gr.  218.  W.  209. 

Height  2%.  Width  4. 

I.  There  is  no  cross-hatching  above  the  woman  seated  in  the  doorway. 
E.  G.  Kennedy. 

II.  The  shading  in  the  doorway,  above  the  woman,  is  darkened  by  cross- 
lines. 


258  Old-Clothes  Shop,  No.  2.  M.  254.  Gr.  328.  Sup.  302. 
Height  3%.  Width  6%. 

I.  Before  the  work  mentioned  in  ii.  Lenox  Library. 

II.  There  is  more  intricate  work  in  the  doorway  in  which  the  man  is 
seated,  and  also  on  the  figure  of  the  girl  in  shadow,  particularly  on 
the  arm  and  head.  Eight  delicate,  oblique  dry-point  lines,  run¬ 
ning  from  left  to  right,  now  appear  under  the  man’s  forearm,  in 
addition  to  and  below  the  etched  lines  already  there.  Delicate, 
oblique  dry-point  lines  intensify  the  shadow  above  and  between  the 
two  hanging  portraits.  H.  Mansfield. 


259  Fruit-Shop.  M.  255.  Gr.  219.  W.  210. 

Height  2%.  Width  4. 

I.  There  is  an  unshaded  space  over  the  head  of  the  woman  standing 
at  the  right.  H.  Mansfield. 

II.  The  space  mentioned  above  is  shaded;  there  is  shading  about  the 
bottles  at  upper  right,  and  cross-lines  on  the  shadow  below  the  shelf, 
near  the  doorway.  The  delicate  slanting  lines  on  the  lower  left 
pane  are  almost  worn  away. 


109 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


260  A  Sketch  on  the  Embankment.  M.  256.  Gr.  220.  W.  211. 
Height  1%.  Width  5%. 


261  The  Menpes  Children.  M.  257.  Gr.  221.  W.  212. 

Height  2%.  Width  4. 

This  plate  was  lately  used  as  a  frontispiece  in  the  edition  de  luxe  of 
“Whistler  as  I  Knew  Him,”  by  Mortimer  Menpes.  London,  1904. 


262  Little  Steps,  Chelsea,  m.  258.  Gr.  222.  W.  213. 

Height  2.  Width  3%. 

I.  The  butterfly  is  not  shaded.  Before  the  work  described  in  ii. 

II.  The  butterfly  is  shaded.  There  is  a  series  of  short  slanting  lines 
above  the  door  at  the  left,  the  panels  of  which  are  now  drawn  in, 
and  additional  work  in  the  open  doorway,  also  on  and  over  the  win¬ 
dow  at  right.  Lenox  Library. 

This  title  was  given  by  Whistler  in  a  list  of  plates  cancelled. 


263  T.  A.  Nash’s  Fruit-Shop.  M.  260.  Gr.  224.  W.  215. 

Height  6%.  Width  4%. 

I.  The  shading  above  the  head  of  the  woman  in  the  centre  is  mostly  in 
parallel  lines.  Obach  &  Co. 

II.  Slanting  lines,  from  left  to  right,  are  at  left  of  the  head  of  the  sales¬ 
woman  in  the  centre,  and  similar  lines  run  from  right  to  left,  just 
from  the  edge  of  the  awning,  half  an  inch  from  the  right. 

E.  G.  Kennedy. 

III.  Short  slanting  lines  run,  from  left  to  right,  above  the  hat  of  the  vague 
figure  of  a  girl  at  left;  lines  of  similar  character,  from  right  to  left, 
are  above  the  white  spot  to  the  right  of  the  saleswoman  in  the  centre. 
H.  Mansfield. 

no 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 

IV.  New  fine  lines  are  added  in  the  background,  and  a  new  cluster  of 
short  lines  between  the  two  groups  of  children  at  right.  The  fea¬ 
tures  of  the  woman  in  the  centre  are  fully  defined,  and  the  traces 
of  work  in  the  open  space  almost  wholly  removed. 

264  The  Fish-Shop,  Busy  Chelsea,  m.  259.  Gr.  223.  W.  214. 

Height  51/2.  Width  8^/2. 

I.  The  figure  of  the  man  behind  the  counter  is  white.  H.  Mansfield. 

II.  The  figure  is  shaded  with  two  series  of  dry-point  lines. 

Mrs.  IV.  B.  Cutting. 

265  Woods’s  Fruit-Shop.  M.  261.  Gr.  326. 

Height  3%.  Width  5V4. 

I.  The  shading  behind  the  woman  is  light. 

II.  There  are  a  few  short,  fine  lines  on  the  lower  part  of  the  window- 
pane  at  left,  and  there  is  more  shading  around  the  woman  in  centre. 
H.  Mansfield. 

266  Furniture-Shop.  M.  262.  Gr.  225.  W.  216. 

Height  3%.  Width  6%. 

267  Savoy  Scaffolding.  M.  263.  Gr.  226.  W.  217. 

Height  7.  Width  3%6- 

268  Railway-Arch.  M.  264.  Gr.  227.  w.  218. 

Height  2%.  Width  6%. 

I.  Before  the  darkening  of  the  archway.  E.  G.  Kennedy. 

II.  The  arch  is  darkened  by  cross-lines  running  in  every  direction ;  there 
is  a  spot  almost  white  toward  the  upper  left  corner  of  it,  possibly  a 
lamp. 


Ill 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


269  Rochester  Row.  M.  265.  Gr.  228.  W.  219. 

Height  5%.  Width  8%. 

I.  The  two  lower  panes  in  the  window  at  the  right  of  the  sign  in  the 
centre  are  not  shaded,  nor  are  those  of  the  window  further  to  the 
right.  The  butterfly  is  in  outline.  H.  Mansfield. 

II.  To  the  right  of  the  child  who  stands  near  the  cart,  a  dozen  or  so  of 
fine,  nearly  vertical  dry-point  lines  run  to  the  railing;  above  the 
child’s  head — about  three  eighths  of  an  inch — several  slanting  lines 
have  been  added.  C.  Buckingham. 

III.  The  panes  of  the  two  windows  mentioned  in  i  are  now  partly  cov¬ 
ered  with  fine  lines,  and  there  is  more  work  above  the  heads  of  the 
two  women  standing  in  the  doorway  at  right.  The  butterfly  is 
shaded.  J.  Caldwell. 

270  York  Street,  Westminster.  M.  266.  Gr.  229.  W.  220. 

Height  5.  Width  SH- 

27 1  The  Barber’s.  M.  268.  Gr.  242.  W.  229. 

Height  6V2.  Width  9%. 

272  Rag-Shop,  Milman’s  Row.  M.  267.  Gr.  314.  Sup.  291. 

Height  6.  Width  9. 

I.  The  chest  of  drawers,  or  bureau,  in  the  doorway,  is  almost  white. 
H.  Mansfield. 

II.  The  bureau  is  heavily  shaded,  and  the  shadow  in  the  doorway,  in 
which  it  stands,  is  enriched  by  dry-point  work.  On  the  middle  of  the 
closed  door  there  are  a  number  of  short  horizontal  lines,  and  at  the 
left  of  the  open  doorway,  short  lines  are  touched  in  here  and  there. 
B.  Lathrop. 

273  Shaving  and  Shampooing.  M.  269.  Gr.  318.  Sup.  294. 

Height  6%.  Width  5. 


112 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


274  Jubilee  Place,  Chelsea.  M.  327.  Gr,  319.  Sup.  29s. 

Height  5%.  Width  8%. 

275  Justice  Walk,  Chelsea,  m.  270.  Gr.  320.  Sup.  296. 

Height  6^.  Width  9/4. 

I.  There  are  no  lines  of  shading  on  the  skirt  of  the  woman  in  the 
centre  doorway.  H.  H.  Benedict. 

II.  On  the  skirt  of  the  woman  in  the  centre  doorway,  ten  short  oblique 
lines  run  to  the  iron  railing;  at  the  left  of  her  waist  and  skirt,  short 
slanting  lines  partly  cross,  and  run  in  an  opposite  direction  from, 
those  existing.  There  is  light  additional  shading  in  both  centre 
doorways.  H.  Mansfield. 

27 Q  Bird-Cages,  Chelsea.  M.  271.  Gr.  321.  Sup.  297. 

Height  6.  Width  9. 

277  Merton  Villa,  Chelsea.  M.  273.  Gr.  322.  Sup.  298. 

Height  5%.  Width  8%. 

278  King’s  Road,  Chelsea.  M.  272.  Gr.  323. 

Height  4/4.  Width  2%. 

279  Little  Maunder’s.  M.  274.  Gr.  325.  Sup.  299. 

Height  3^4-  Width  2. 

280  Exeter  Street.  M.  275.  Gr.  312.  Sup.  287. 

Height  5.  Width  7. 

281  Bird-Cages,  Drury  Lane.  M.  276.  Gr.  313.  Sup.  289. 

Height  sVi-  Width  3%. 

282  Rag-Shop,  St.  Martin’s  Lane.  M.  277.  Gr.  315. 

Height  3^.  Width  yYs. 

II3 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


283  Gates,  City,  London.  M.  279. 

Height  5%6.  Width 
J.  Caldwell. 

284  Marbles.  M.  280.  Gr.  341.  Sup.  312. 

Height  51/4.  Width  3%. 

I.  The  features  of  the  boy  at  right  are  not  indicated.  Before  the  work 
described  in  ii  and  iii.  H.  Mansfield. 

II.  The  same  as  i,  except  that  the  butterfly  is  shaded. 

Not  reproduced. 

III.  There  is  strong  shading  at  the  right  of  the  standing  woman,  also  in 
and  to  the  left  of  the  doorway.  The  features  of  the  boy  at  right  are 
drawn  in,  and  there  is  shading  on  the  little  girl  by  the  window. 

285  Petticoat  Lane.  M.  281.  Gr.  243.  w.  230. 

Height  3%.  Width  5%. 

I.  Before  the  work  described  in  ii.  H.  H.  Benedict. 

II.  The  lower  part  of  the  third  top  pane  in  the  window — from  left  to 
right — is  shaded,  and  there  is  additional  shading  in  the  one  next  to 
it.  The  cross-hatching  in  the  doorway  has  been  carried  further 
down.  H.  Mansfield. 

286  Hansom  Cab.  (Wimpole  Street.)  M.  278.  Gr.  324. 

Height  3%.  Width  2%. 

287  Clothes-Exchange,  No.  1.  M.  282.  Gr.  244.  W.  231. 

Height  6^.  Width  934- 

I.  The  shading  under  the  shed  is  comparatively  open.  H.  H.  Benedict. 

II.  There  is  heavy  shading  in  the  lower  part  of  the  background  at  right, 
behind  the  flgures,  and  fine  slanting  lines  are  on  the  wall  above  the 
roof. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


288  Clothes-Exchange,  No.  2.  M.  283.  Gr.  316.  Sup.  292. 

Height  9.  Width  5%. 

I.  Before  the  work  noted  in  ii.  /.  H.  Wrenn. 

II.  The  column  at  left  is  more  heavily  shaded,  and  there  is  additional 
work  on  the  roof  and  arches.  B.  Lathrop. 

289  Fleur  de  Lys  Passage.  M.  286.  Gr.  246.  W.  233. 

Height  yVs.  Width  3%. 

I.  The  shading  at  the  top  of  the  doorway  is  light. 

II.  The  shading  at  the  left  and  top  of  the  doorway  is  reinforced  by  fine 
slanting  lines  running  from  right  to  left.  The  late  Sir  John  C.  Day. 

III.  There  is  still  closer  work  at  the  top  and  bottom  of  the  doorway. 
New  work  behind  the  gate  in  the  passageway  suggests  a  garden. 

290  St.  James’s  Place,  Hounsditch.  m.  284.  Gr.  245.  W.  232. 

Height  3%.  Width  6%. 

291  Nut-Shop,  St.  James’s  Place.  M.  28s.  Gr.  327.  Sup.  301. 

Height  5.  Width  6%. 

I.  The  lines  of  shading  in  the  window,  above  the  man  standing  at  right, 
are  less  complex  than  in  ii,  etc.  H.  Mansfield. 

II.  The  work  in  the  window,  above  the  man  standing,  is  closer  than  in 
I ;  there  is  additional  shading  in  the  next  window  to  the  right. 

B.  Lathrop. 

292  Cutler  Street,  Hounsditch.  m.  287.  Gr.  247.  w.  234. 

Height  7.  Width  4%. 

I.  Before  shading  on  the  lamp,  etc.  H.  B.  Dick. 

II.  The  lamp  is  shaded ;  there  is  additional  work  on  the  shadow  below 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


“B.  Abrahams,”  and  to  the  left  of  the  woman’s  hips;  a  few  short 
slanting  lines  are  to  the  right  of  and  above  the  child  in  the  man’s 
arms.  H.  Mansfield. 

293  Melon-Shop,  Hounsditch.  M.  288,  Gr.  302.  Sup.  281. 

Height  5.  Width  7. 

I.  The  butterfly  is  not  shaded.  Before  the  additions  noted  below. 

H.  Mansfield. 

II.  The  butterfly  is  shaded.  The  features  of  the  two  women  in  the  fore¬ 
ground  are  altered,  and  there  is  additional  work  on  their  gowns. 
Elaborate  cross-lines  intensify  the  shadows  in  the  shop,  which  now 
extend  around  the  man  and  the  woman  next  to  him.  The  head  of 
the  woman  at  the  right  is  almost  burnished  out,  and  that  of  the 
man  partly  so.  H.  Mansfield. 

III.  There  is  more  work  above  the  head  of  the  old  man  in  the  corner  of 
the  left  window;  there  are  several  additional  short  slanting  lines 
on  a  box  in  the  lower  part  of  the  doorway  at  right.  B.  Lathrop. 

294  After  the  Sale,  Hounsditch.  M.  289.  Gr.  303.  Sup.  282. 

Height  4%.  Width  6%. 

295  Steps,  Gray’s  Inn.  M.  290.  Gr.  304.  Sup.  283. 

Height  2%.  Width  7. 

Mrs.  E.  B.  Holden. 

296  The  Young  Tree.  M.  291.  Gr.  305.  Sup.  284. 

Height  5%.  Width  3%. 

297  Gray’s  Inn  Place.  M.  292.  Gr.  307.  Sup.  285. 

Height  5.  Width  6%. 

I.  There  is  a  white  space  on  the  ground  in  the  passageway. 

H.  Mansfield. 

II.  The  white  space  is  covered  with  lines.  W.  H.  Bustin,  Jr. 

ii6 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


298  Babies,  Gray’s  Inn.  M.  295.  Gr.  310. 

Height  3%.  Width  2%. 

299  Seats,  Gray’s  Inn.  m.  293.  Gr.  308.  Sup.  286. 

Height  3%.  Width  7. 

300  Doorway,  Gray’s  Inn.  M.  294. 

Height  3%.  Width  5%. 

I.  The  doorway  is  lightly  shaded.  /.  Caldwell. 

II.  The  doorway  is  heavily  shaded  with  cross-lines.  H.  Mansfield. 

301  Children,  Gray’s  Inn.  M.  296.  Gr.  311. 

Height  7.  Width  5. 

302  The  Little  Nurse.  M.  297.  Gr.  309.  Sup.  307. 

Height  5.  Width  3%. 

303  Church  Doorway,  Edgemere.  m.  298.  Gr.  297.  Sup.  270. 

Height  3%.  Width  2%. 

304  The  Cock  and  the  Pump.  M.  299.  Gr.  248.  W.  235. 

Height  giyie.  Width  51/2. 

305  Salvation  Army,  Sandwich.  M.  300.  Gr.  249.  W.  236. 

Height  3%.  Width  6%. 

306  Double  Doorway,  Sandwich.  M.  301.  Gr.  298.  Sup.  271. 

Height  2%.  Width  4%. 

I.  The  doorway  at  left  is  blank.  B.  Lathrop. 

II.  The  panels  are  indicated  on  the  door  at  the  left;  the  two  open  door¬ 
ways  are  heavily  shaded.  B.  Lathrop. 

II7 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


307  Doorway,  Sandwich,  m.  302.  Gr.  299.  Sup.  272. 

Height  3%.  Width  5%. 

I.  The  butterfly  is  in  outline  at  right.  Before  the  work  mentioned  in  ii. 
H.  Wunderlich  &  Co. 

II.  The  doorway  is  heavily  shaded,  also  the  butterfly;  the  second 
and  third  lower  panes  in  the  window  at  right  are  partly  covered  with 
vertical  lines.  H.  Wunderlich  &  Co. 


308  Butcher’s  Shop,  Sandwich.  M.  303.  Gr.  300.  Sup.  273. 

Height  2%.  Width  3%. 

309  Ramparts,  Sandwich.  M.  304.  Gr.  301.  Sup.  274. 

Height  5.  Width  7. 

Mrs.  E.  B.  Holden. 


310  Charing  Cross  Railway-Bridge,  m.  306.  Gr.  317.  Sup.  293. 

Height  5%.  Width  3%. 

311  Sketch  of  Battersea  Bridge.  M.  305.  Gr.  237.  W.  225. 

Height  5.  Width  6%. 

312  Black  Eagle.  M.  307.  Gr.  395.  Sup.  369. 

Height  2^/2.  Width  i%. 

313  Wild  West,  Buffalo  Bill.  M.  310.  Gr.  241. 

Height  5.  Width  7. 

314  Wild  West.  M.  308.  Gr.  239.  W.  228. 

Height  31/8.  Width  7^/4. 

ii8 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


315  The  Bucking  Horse.  M.  309.  Gr.  240.  Sup.  290. 

Height  3^4-  Width  7%. 

The  photographer  inadvertently  made  the  negative  larger  than  the 
original  etching. 


316  Abbey  Jubilee.  M.  326.  Gr.  262.  Sup.  288. 

Height  3%.  Width  2%. 

I.  Before  the  work  described  in  ii.  H.  Mansfield. 

II.  Short  slanting  dry-point  lines  shade  the  arch  at  upper  right.  About 
a  dozen  diagonal  lines  are  added  at  lower  left,  and  there  is  new  work 
immediately  below  the  central  canopy ;  other  touches  here  and  there. 
E.  G.  Kennedy. 

317  Tilbury.  M.  312.  Gr.  260.  Sup.  276. 

Height  3%.  Width  7. 

This  and  the  eleven  plates  following  were  etched  in  honor  of  the 
fiftieth  anniversary  of  the  reign  of  Queen  Victoria,  July  27,  1887.  The 
letter  he  addressed  to  the  Right  Honourable  W.  H.  Smith,  then  First 
Lord  of  the  Admiralty,  in  connection  with  the  presentation  of  this  set  of 
etchings  to  the  Queen,  gives  a  good  idea  of  Whistler’s  “official”  style. 

318  Monitors.  M.  315.  Gr.  252.  W.  239. 

Height  51/2.  Width  8%. 

319  Troop  Ships.  M.  314.  Gr.  251.  w.  238. 

Height  5.  Width  6%. 

320  Visitors’  Boat.  M.  313.  Gr.  250.  W.  237. 

Height  6i%6.  Width  5. 

321  The  Turret-Ship.  M.  316.  Gr.  261. 

Height  5.  Width  7. 

iig 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


322  Dry-Dock,  Southampton.  M.  317.  Gr.  253.  W.  240. 

Height  2%e-  Width  6%. 

323  Portsmouth  Children.  M.  311.  Gr.  259.  Sup.  275. 

Height  2%.  Width  3%. 

324  Bunting.  M.  318.  Gr.  254.  W.  241. 

Height  6%.  Width  4%. 

325  Dipping  the  Flag.  M.  319.  Gr.  255.  w.  242. 

Height  3%.  Width  6%. 

326  The  Fleet:  Evening.  M.  320.  Gr.  256.  W.  243. 

Height  5%.  Width  8%. 

327  Return  to  Tilbury,  m.  321.  Gr.  257.  w.  244. 

Height  5%6.  Width  3%. 

328  Ryde  Pier.  M.  322.  Gr.  258.  W.  245. 

Height  5%6-  Width  3%. 

329  Windsor  (Memorial)  .  M.  324.  Gr.  263.  W.  247. 

Height  5%.  Width  3%. 

I.  The  flag  is  almost  in  outline,  etc.  E.  G.  Kennedy. 

II.  There  is  a  design  on  the  flag,  and  more  work  on  the  parapet  of  the 
tower ;  seven  or  eight  delicate  vertical  lines  are  added  in  the  water  at 
the  left.  H.  Mansfield. 

III.  The  top  of  the  tower  is  more  heavily  shaded,  and  there  is  slight  dry- 
point  work  to  the  right  of  the  base  of  it;  new  delicate  vertical  lines 
and  broken  horizontal  lines  are  added  to  the  reflections  below  the 


120 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


tower,  and  over  a  dozen  irregular  delicate  upright  lines  immedi¬ 
ately  below  the  house  at  left.  Mrs.  G.  T.  Bliss. 

IV.  New  vertical  lines  strengthen  the  reflection  of  the  tower  in  the 
water. 


330  Windsor,  No.  2.  M.  325.  Gr.  264.  Sup.  277. 

Height  5%.  Width  3%. 

331  Chelsea  (Memorial).  M.  323.  Gr.  265.  W.  246. 

Height  2.  Width  3^. 

332  The  Fur  Cloak.  M.  328.  Gr.  230.  W.  221. 

Height  8}^.  Width  5. 

I.  The  face  is  a  trifle  rounder  than  in  ii;  there  are  touches  of  heavy 
dry-point  work  above  the  head,  etc.  H.  S.  Theobald. 

II.  The  head  is  somewhat  smaller;  the  dry-point  work  is  reduced. 

H.  Mansfield. 

III.  The  face  is  slightly  reworked;  a  new  series  of  lines  in  the  back¬ 
ground  runs  around  the  head  and  shoulders;  on  the  skirt  of  the 
gown,  below,  at  right,  four  or  five  almost  horizontal  lines  appear. 
Slanting  lines,  from  left  to  right,  run  from  the  left  background  into 
the  gown,  below  the  hip. 


333 

334 

335 


Nora  Quinn.  M.  329.  Gr.  231.  Sup.  367. 


Height  8^4.  Width  5. 


Miss  Lenoir.  M.  330.  Gr.  334.  Sup.  309. 
Height  3%.  Width  2%. 

The  Little  Hat.  M.  331.  Gr.  332.  Sup.  306. 
Height  3%.  Width  2^. 


T2T 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


336  The  Mantle.  M.  332.  Gr.  340. 

Height  2%.  Width  2. 

337  The  Japanese  Dress.  M.  335. 

Height  378.  Width  2%. 

338  Resting  by  the  Stove.  M.  338.  Gr.  336. 

Height  434.  Width  3. 

A  sketch  of  two  nude  women,  one  standing,  and  the  other  seated 
on  a  box,  reading  a  letter  or  a  book.  A  stovepipe  is  in  the  back¬ 
ground.  The  butterfly  is  at  the  left,  almost  half-way  up  the  plate. 

Not  reproduced. 

339  Gipsy  Baby.  (Greedy  Baby.)  M.  337.  Gr.  306. 

Height  3%.  Width  2%. 

Mrs.  E.  B.  Holden. 

340  Little  Nude  Figure.  M.  339.  Gr.  337. 

Height  3%6.  Width  i^%6. 

341  Baby  Pettigrew.  M.  336.  Gr.  333.  Sup.  308. 

Height  534.  Width  3%. 

342  Model  Stooping.  M.  340.  Gr.  329.  Sup.  303. 

Height  534-  Width  3%. 

I.  Before  the  lines  mentioned  in  ii.  /.  Caldwell. 

II.  There  are  slightly  slanting  lines  over  the  head  and  back  of  the 
model ;  a  few  delicate  dry-point  lines  are  added  behind  the  left  leg, 
above  the  ankle.  B.  Lathrop. 

343  Nude  Figure  Reclining.  M.  341.  Gr.  235.  Sup.  304. 

Height  7%.  Width  io%. 


122 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


344  Binding  the  Hair.  M.  342.  Gr.  331.  Sup.  305. 

Height  5%.  Width  3%. 

345  The  Fan.  (Model  No.  3.)  M.  343.  Gr.  338. 

Height  5%.  Width  3%. 

346  Little  Model  Seated.  M.  344. 

Height  10.  Width  7. 

Nude  girl  seated  in  deep  shadow.  She  faces  to  the  right,  and  her 
right  arm  is  thrust  backward  as  if  to  support  her  body. 

Not  reproduced. 


347  Cameo,  No.  l.  (Mother  and  Child.)  M.  333. 

Height  6%.  Width  5.  [Gr.  233.  W.  224. 

348  Cameo,  No.  2.  M.  334.  Gr.  234.  Sup.  31 1. 

Height  6%.  Width  5. 

349  Fish-Market,  Ostend.  M.  349. 

Height  3%.  Width  5^. 

350  Market,  Calais.  M.  439. 

Height  3%.  Width  5%. 

H.  Mansfield. 

This  title  is  quite  an  arbitrary  one  which  I  gave  to  this  subject  some 
years  ago  in  London  to  differentiate  it  from  similar  subjects,  all  of  which, 
most  likely,  were  done  at  the  same  time. 


351  Market-Place,  Bruges.  M.  351.  Gr.  275.  W.  255. 
Height  3%.  Width  51/8. 


123 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


352  Quay,  Ostend.  M.  348.  Gr.  267.  Sup.  318. 

Height  5.  Width  7. 

353  Canal,  Ostend.  m.  350.  Gr.  266.  W.  248. 

Height  2%.  Width  7. 

354  The  Beach,  Ostend.  m.  347.  Gr.  268. 

Height  3%6.  Width  yVa. 

355  Courtyard,  Brussels.  M.  353.  Gr.  270.  W.  250. 

Height  834-  Width  5. 

356  Church,  Brussels.  M.  352.  Gr.  269.  W.  249. 

Height  5.  Width  7. 

I.  The  etching  only.  H.  H.  Benedict. 

II.  The  chapels  are  shaded  with  fine  dry-point  lines.  B.  Lathrop. 

III.  The  shading  over  the  chapel  at  the  left  is  carried  to  the  upper  edge 
of  the  plate  and  extends  to  the  chapel  at  right.  Additional  fine  lines 
enrich  the  shading  in  the  other  chapels.  H.  Mansfield. 

357  The  Barrow,  Brussels.  M.  356.  Gr.  273.  W.  233. 

Height  5.  Width  678- 

I.  The  interior,  seen  through  the  open  window,  is  light. 

H.  H.  Benedict. 

II.  The  interior  is  more  heavily  shaded,  except  at  the  left;  there  are 
new  dry-point  lines  in  the  doorway.  B.  Lathrop. 

III.  The  interior  is  darkened  by  lines  running  in  all  directions;  there  is 
additional  work  in  the  doorway,  particularly  at  the  top. 

The  late  Sir  John  C.  Day. 

On  the  back  of  Mr.  Benedict’s  impression  (i),  in  Whistler’s  writing: 
“The  Barrow,  Quartier  des  Marolles,  Brussels.  i®‘  state.” 


124 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


358  High  Street,  Brussels,  m.  357.  Gr.  274.  w.  254. 

Height  5.  Width  6%. 

I.  There  is  less  work  in  the  doorways  than  in  ii,  particularly  in  that 
at  the  right,  in  which  there  is  a  butterfly,  lightly  etched.  There  is  no 
shading  around  the  children  in  the  cart.  7.  77.  Wrenn. 

II.  The  four  doorways  are  closely  shaded,  and  there  are  lines  around 
the  children  in  the  cart.  There  is  new  work  on  the  large  window. 
77.  Mansfield. 

359  Flower-Market,  Brussels.  M.  358.  Gr.  386.  Sup.  346. 

Height  7.  Width  2%. 

360  Gold-House,  Brussels.  M.  359.  Gr.  387.  Sup.  347. 

Height  7.  Width  2^4. 

361  Palaces,  Brussels.  M.  355.  Gr.  272.  w.  252. 

Height  8%.  Width  5^4. 

I.  Before  the  work  mentioned  in  ii.  77.  Mansfield. 

II.  There  is  new  work  here  and  there  all  over  the  plate,  particularly 
under  the  balcony  at  left,  and  on  the  windows  above  and  below  it. 

7.  77.  Wrenn. 

362  Grand’ Place,  Brussels.  M.  354.  Gr.  271.  w.  251. 

Height  8%.  Width  51/2. 

363  House  of  the  Swan,  Brussels.  M.  360.  Gr.  389.  Sup.  349. 

Height  7.  Width  2^. 

364  Butter  Street,  Brussels,  m.  363.  Gr.  388.  Sup.  348. 

Height  5%.  Width  3%. 


125 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


365  Brussels  Children,  m.  362.  Gr.  392.  Sup.  352. 

Height  2%.  Width  3%. 

366  Archway,  Brussels.  M.  361.  Gr.  390.  Sup.  350. 

Height  4^%6-  Width  8^. 

367  Little  Butter  Street,  Brussels.  M.  364.  Gr.  393.  Sup.  353. 

Height  7^.  Width  3%. 

368  Courtyard,  Rue  P.  L.  Courier.  M.  369.  Gr.  391.  Sup.  351. 

Height  5%.  Width  31/8. 

369  Place  Daumont.  M.  368.  Gr.  363.  Sup.  326. 

Height  5^.  Width  3%. 

370  The  Wine-Shop.  M.  370.  Gr.  354. 

Height  6%.  Width  5. 

371  Railway-Station,  Voves.  M.  371.  Gr.  336.  Sup.  319. 

Height  sVs.  Width  8%. 

I.  Before  the  butterfly.  IV.  H.  Bustin,  Jr. 

II.  The  butterfly  is  two  and  one  half  inches  from  the  right  and  seven 
eighths  of  an  inch  from  the  bottom,  and  is  quite  faint.  There  is 
no  other  difference. 

Not  reproduced. 


372  Rue  des  Bons  Enfants,  Tours.  M.  372.  Gr.  357.  W.  320. 
Height  5%.  Width  3I4. 

I.  Before  the  work  mentioned  in  ii.  I.  H.  Wrenn. 

II.  There  are  about  six  heavy,  irregular  diagonal  lines  inside  the  top 
of  the  doorway,  slightly  to  the  right  of  the  centre;  also  light  diag- 

126 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


onal  lines,  from  left  to  right,  in  upper  left  of  the  window  in  the 
third  storey.  H.  Mansfield. 

III.  There  is  more  work  in  the  doorway  and  in  the  windows  of  the  sec¬ 
ond  and  third  storeys.  A.  J.  Parsons. 

373  Hotel  Croix  Blanche,  Tours.  M.  373.  Gr.  3^8-  Sup.  321. 

Height  7.  Width  4%. 

I.  Before  the  heavy  work  in  the  centre  doorway,  etc.  B.  Lathrop. 

II.  There  is  additional  shading  in  the  doorways,  the  centre  one  being 
almost  black. 

374  Market-Place,  Tours.  M.  374.  Gr.  359.  Sup.  322. 

Height  10%.  Width  5^4- 

375  Little  Market-Place,  Tours.  M.  375.  Gr.  361.  Sup.  324. 

Height  5.  Width  7. 

376  Hangman’s  House,  Tours.  M.  376.  Gr.  360.  Sup.  323. 

Height  5%6.  Width  3%. 

I.  There  are  three  irregular  white  spaces  over  the  centre  of  the  arch, 
etc.  /.  Caldwell. 

II.  There  is  slight  additional  work  around  the  children  and  on  the 
decorative  work  in  relief  over  the  door;  the  white  spaces  above  the 
centre  of  the  arch  are  shaded,  and  there  is  new  work  in  the  left 
upper  corner  and  at  the  right,  beyond  the  projecting  construction 
above  the  doorway.  Miss  Veltin. 

Zll  Cellar-Door,  Tours.  M.  377.  Gr.  362.  Sup.  323. 

Height  5%.  Width  31/8. 

I.  There  are  clear  spaces  to  the  left  and  right  of  the  woman  in  the 
doorway.  /.  Caldwell. 


127 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  clear  spaces  are  nearly  covered  with  lines,  as  is  the  window 
above  the  head  of  the  woman  on  the  balcony.  B.  Lathrop. 

378  Chateau  Bridorez.  M.  378.  Gr.  364.  Sup.  327. 

Height  5%.  Width  3%. 

379  Chateau,  Touraine.  M.  379.  Gr.  365.  Sup.  328. 

Height  51/4.  Width  3%. 

380  Chateau  Verneuil.  m.  381.  Gr.  394.  Sup.  354. 

Height  7.  Width  5. 

381  Doorway,  Touraine.  M.  380.  Gr.  366.  Sup.  329. 

Height  sVs.  Width  5%. 

382  Mairie,  Loches.  M.  382.  Gr.  279.  W.  259. 

Height  8%.  Width  5. 

I.  The  doorway  and  windows  are  lightly  shaded.  T.  I.  Coolidge,  Jr. 

The  reproduction  is  much  lighter  than  the  original. 

II.  The  doorway  and  the  opening  of  the  second-storey  window  are 
heavily  shaded,  etc.  The  late  Sir  John  C.  Day. 

III.  The  panes  of  the  transom  window  of  the  second  storey,  and  nearly 
all  the  panes  in  the  window  of  the  storey  above  it,  are  strongly 
shaded.  H.  Mansfield. 

383  Chancellerie,  Loches.  M.  383.  Gr.  372.  Sup.  334. 

Height  101/2.  Width  6I/2. 

I.  The  windows  over  "rements^'’  are  not  so  much  worked  on  as  in  ii, 
two  panes  at  the  right  in  the  upper  window  being  white.  The  cor¬ 
nice  above  the  windows  of  the  house  at  left,  running  obliquely  from 
right  to  left,  is  partly  white.  F.  L.  Babbott. 

128 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


II.  The  cornice  is  shaded,  and  there  is  more  work  on  all  the  windows. 

H.  H.  Benedict. 

III.  There  are  perpendicular  lines  under  the  cornice  of  the  third  house 
from  the  left,  which  juts  out  slightly,  and  cross-lines  on  the  corner 
of  the  gable  exposed  above.  The  part  of  the  gable  which  shows  be¬ 
low  the  chimneys  is  covered  with  lines  varying  in  length,  mostly 
horizontal.  There  are  additional  lines  on  the  cornice  mentioned  in 

I,  and  on  the  windows,  also  some  slight  work  on  the  white  space 
over  the  shop  window.  /.  Caldwell. 

IV.  There  is  still  more  shading  on  the  three  windows.  H.  Mansfield. 

V.  The  windows  are  darkened  by  heavy  lines.  /.  Caldwell. 

384  Hotel  de  Ville,  Loches.  M.  384.  Gr.  379. 

Height  io%6.  Width  6%^. 

385  From  Agnes  Sorel’s  Walk.  M.  385.  Gr.  380. 

Height  5^4.  Width  io34- 

386  Market-Women,  Loches.  M.  386.  Gr.  373.  Sup.  335. 

Height  4.  Width  2%. 

387  Theatre,  Loches.  M.  388.  Gr.  375.  Sup.  337. 

Height  4.  Width  2%. 

388  Market-Place,  Loches.  M.  390.  Gr.  377.  Sup.  339. 

Height  sVs.  Width  5%. 

389  Poultry-Market,  Loches. 

Height  sVs.  Width  5%. 

/.  Caldwell. 


129 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


390  Renaissance  Window,  Loches.  M.  391.  Gr.  378.  Sup.  340. 

Height  7.  Width  5. 

I.  The  face  of  the  woman  under  the  umbrella  is  not  in  shadow;  the 
shading  in  the  windows  is  light.  H.  Mansfield. 

II.  The  umbrella  and  the  face  of  the  woman  holding  it  are  heavily 
shaded,  and  the  face  of  the  woman  at  left  is  fully  defined;  there  is 
new  work  all  over  the  plate.  B.  Lathrop. 

391  Hotel  de  la  Promenade,  Loches.  M.  387.  Gr.  374. 

Height  2%.  Width  4.  [Sup.  336. 

392  Tour  St.  Antoine,  Loches.  M.  389.  Gr.  376.  Sup.  338. 

Height  5%.  Width  31/8. 

393  Chateau  Amboise.  M.  393.  Gr.  382.  Sup.  342. 

Height  3^%6-  Width  2%. 

^394  Clock-Tower,  Amboise.  M.  394.  Gr.  383.  Sup.  343. 

Height  7.  Width  5. 

395  Chapel  Doorway,  Montresor.  M.  392.  Gr.  381.  Sup.  341. 

Height  7.  Width  5. 

396  Gateway,  Chartreux.  M.  393.  Gr.  384.  Sup.  344. 

Height  5%6.  Width  sVs. 

397  Under  the  Cathedral,  Blois.  M.  396.  Gr.  385.  Sup.  345. 

Height  8%.  Width  5. 

398  Court  of  the  Monastery  of  St.  Augustine,  Bourges. 

Height  5%.  Width  8%.  [M.  397.  Gr.  367.  Sup.  330. 

130 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


399  Hotel  Lallement,  Bourges.  m.  398.  Gr.  368.  Sup.  331. 
Height  6^.  Width  io%. 

I.  There  is  a  white  space  between  the  woman’s  feet.  H.  Mansfield. 

II.  Delicate  oblique  dry-point  lines  are  added  in  the  upper  left  of  the 
doorway,  an  inch  below  the  base  of  the  oriel  window.  The 
white  space  between  the  woman’s  feet  is  covered  with  lines.  The 
contour  and  position  of  the  feet  are  the  same  as  in  i.  E.  G.  Kennedy. 

III.  The  woman’s  feet  and  the  shading  between  them  are  burnished  ou{. 
J.  H.  Wrenn. 


400  Windows,  Bourges.  M.  399.  Gr.  369.  Sup.  332. 

Height  5%.  Width  31/8. 

I.  The  shading  on  the  windows  is  light.  H.  B.  Dick. 

II.  There  is  new  shading — some  cross-lines — on  the  window  at  top,  also 
on  the  window  below  and  the  stone  work  above  it;  other  touches 
here  and  there.  H.  Mansfield. 


401  Windows  OPPOSITE  Hotel,  Bourges.  m.  400.  Gr.  370. 
Height  3%.  Width  2%. 


402  Notre  Dame,  Bourges.  M.  401.  Gr.  371. 

Height  8%.  Width  5%. 

403  Steps,  Amsterdam.  M.  402.  Gr.  280.  W.  260. 

Height  9%-  Width  6H- 

I.  Before  the  five  lower  steps  were  completed ;  before  much  shading  in 
the  water,  or  on  the  woman  in  the  left  doorway.  H.  B.  Livingston. 

II.  The  steps  are  finished ;  there  is  additional  shading  in  the  water  and 
in  all  the  doorways;  the  legs  and  back  of  the  little  girl  facing  the 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


steps  are  cross-hatched,  and  the  head  and  body  of  the  woman  stand¬ 
ing  on  the  top  of  the  steps  are  drawn  in.  H.  H.  Benedict. 

III.  The  light  space  below  the  heavy  shading  in  the  middle  of  the  plate, 
seven  eighths  of  an  inch  from  the  bottom,  is  now  covered  with  fine 
slanting  lines.  Additional  lines  are  at  the  bottom  of  the  plate,  at 
right.  H.  Mansfield. 

IV.  A  series  of  perpendicular  lines  partly  shade  the  white  space  at  left, 
an  inch  and  a  half  from  the  bottom.  Below  this  series,  new  slanting 
lines  are  added  to  those  already  there.  /.  Caldwell. 


404  Square  House,  Amsterdam.  M.  403.  Gr.  281.  W.  261. 

Height  9.  Width  6%. 

I.  Before  the  changes  noted  in  ii.  H.  Mansfield. 

II.  On  the  lower  panes  of  the  third  window  from  the  left,  at  top,  there  is 
more  shading,  also  on  the  long  window  below  it,  on  the  window 
below  and  to  the  left  of  the  butterfly,  and  above  the  woman  stand¬ 
ing  behind  the  railing  at  right.  Additional  lines  are  here  and  there 
in  the  water,  particularly  at  left.  W.  H.  Bustin,  Jr. 


405  Balcony,  Amsterdam.  M.  404.  Gr.  282.  W.  262. 

Height  10%.  Width  6^. 

I.  Before  the  work  noted  in  ii  and  iii.  B.  Lathrop. 

II.  The  windows  above  the  balcony  are  heavily  shaded,  as  are  the  door¬ 
way  below  and  the  water.  The  shadow  of  the  clothes  suspended  at 
the  top  is  darkened ;  there  is  new  work  on  the  walls,  etc. 

W.  B.  Dickerman. 

III.  There  is  slight  additional  work  on  the  shadows  of  the  clothes  hung 
out  at  top ;  there  are  horizontal  lines  to  the  left  of  the  balcony,  and 
vertical  and  slightly  slanting  lines  to  the  left  of  the  doorway.  Fine 

132 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


lines  running  in  all  directions  are  at  the  right  of  the  doorway,  and 
vertical  lines  are  in  the  water,  below  the  feet  of  the  standing  man. 
The  butterfly  is  shaded.  H.  Mansfield. 

406  Long  House — Dyer’s — Amsterdam.  M.  408.  Gr.  286. 

Height  6^/2.  Width  io%.  [  W.  266. 

I.  Before  the  woman  and  child  were  drawn  in,  near  the  boy  leaning 
over  the  fence.  G.  W.  Vanderbilt. 

II.  A  woman  holding  a  child  in  her  arms  stands  behind  a  fence  at  right 
centre ;  additional  work  all  over  the  plate. 

Mrs.  H.  0.  Havenieyer. 

III.  There  is  new  work  at  upper  left;  the  lower  pane  of  the  window  to 
the  left  of  the  woman  standing  in  the  doorway,  which  was  black  in 
II,  is  now  lightened  in  the  lower  part.  In  right  centre,  at  bottom, 
almost  vertical  lines,  about  an  inch  in  length,  cover  the  shorter  ones 
already  existing.  H.  Mansfield. 

407  Pierrot.  M.  406.  Gr.  284.  W.  264. 

Height  9.  Width  6Vi. 

I.  There  is  a  light  spot  in  front  of  the  boy’s  knees,  shaded  by  hori¬ 
zontal  lines  only.  H.  L.  Quick. 

II.  Vertical  lines  cross  the  light  spot;  the  horizontal  lines  in  the  water, 
directly  below  it,  are  also  crossed  by  vertical  lines.  B.  Lathrop. 
[Detail,  enlarged.] 

III.  There  is  new  shading  in  the  doorway  and  on  the  beams  above  it. 
G.  W.  Vanderbilt. 

IV.  There  is  additional  shading  on  the  doorway  and  around  it,  and  heavy 
shading  in  the  water.  /.  H.  Wrenn. 

v.  There  are  slight  touches  on  the  breast  and  on  the  apron  of  the  stand¬ 
ing  figure,  and  new  cross-lines  on  the  space  to  the  right  of  him; 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


fine  diagonal  lines  are  on  the  beam  over  the  windoAV  at  the  left  of 
the  doorway,  and  in  lower  right  corner.  H.  Mansfield. 

408  Nocturne:  Dance-House.  M. 407.  Gr.  285.  W.  265. 

Height  10%.  Width  6^4. 

I.  There  are  two  figures  in  an  upper  window  at  the  left;  the  rays  of 
light  from  the  lamp  in  the  centre  are  smaller  than  in  ii. 

A.  W.  Scholle. 

II.  The  figures  in  the  window  are  almost  burnished  out ;  the  rays  of  light 
are  larger.  A.  J.  Parsons. 

From  an  impression  almost  clean  wiped. 

This  is  another  puzzling  plate  as  to  the  priority  of  state  or  condition. 
In  I,  the  light  part,  at  the  left,  below  the  window  with  the  figures,  is 
richly  printed,  which  gives  an  impression  of  additional  work  and  there¬ 
fore  of  later  printing  than  ii,  not  warranted  upon  close  examination,  as 
it  is  an  effect  of  ink  left  upon  the  plate.  Again,  the  freshness  and  crisp¬ 
ness  of  the  lines,  particularly  in  the  lighter  parts,  confirm  the  sequence 
as  arranged. 

409  Bridge,  Amsterdam.  M.  409.  Gr.  287.  W.  267. 

Height  6%.  Width  9^. 

I.  There  is  little  shading  in  the  water ;  the  figure  on  the  bridge,  at  right, 
is  in  outline,  and  the  railing  is  either  faint  or  not  indicated. 

/.  H.  Wrenn. 

II.  The  water  is  shaded,  principally  with  vertical  and  oblique  lines ;  the 
figure  at  right  is  also  shaded ;  the  telegraph  frame  and  the  railing  are 
well  defined,  and  there  is  more  work  all  over  the  plate.  B.  Lathrop. 

III.  The  sky  is  much  heavier;  the  shadows  of  the  bridge  and  its  piers 
have  been  softened,  and  the  work  on  some  of  the  figures  has  been 
reduced.  The  house  at  the  left  is  strongly  shaded.  The  sky  is  en¬ 
riched  by  dry-point  work,  and  there  are  slanting  lines  at  left,  and 
broken  lines  at  centre,  in  the  water.  The  late  IV.  S.  Carter. 


134 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


410  The  Embroidered  Curtain.  M.  411.  Gr.  289.  Sup.  356. 
Height  g%.  Width  6%. 

I.  Lightly  etched.  There  is  no  head  on  the  child  standing  at  right,  nor 
shading  on  her  frock.  B.  Lathrop. 

II.  The  shading  in  the  doorways  and  in  the  water  is  much  heavier. 
There  is  a  head  on  the  child  at  right,  and  delicate  dry-point  lines  on 
the  waist  of  her  frock.  The  space  between  the  legs  of  the  man  in 
the  doorway  at  right  is  filled  with  fine  dry-point  lines.  /.  Caldwell. 

III.  Here  and  there,  additional  lines  are  in  the  water,  some  of  which,  at 
right  centre,  have  taken  the  form  of  a  patch,  or  oblong  spot. 

/.  H.  Wrenn. 

IV.  There  are  fine  slanting  lines,  running  from  right  to  left,  between  the 
legs  of  the  man  in  the  doorway  at  right ;  while  further  to  the  right,  a 
figure  of  a  child  is  suggested  on  the  steps  below  the  door.  There  is 
more  work  on  the  four  panes  of  the  window  above  the  doorway  in 
which  a  woman  is  stooping,  particularly  on  the  two  upper  ones,  and 
the  upper  left  pane  of  the  window  above  the  door  at  extreme  right 
is  more  worked  upon.  The  reflections  of  the  children  standing  at 
the  right,  and  of  the  girl  with  a  child  in  her  arms,  are  now  defined. 
A.  W.  Scholle. 

v.  The  water  is  much  darkened,  obscuring  the  reflections  of  the  chil¬ 
dren;  the  etched  work  is  extended  to  the  edge  of  the  plate,  from  the 
coping  or  stone  framework  of  the  windows  at  the  right,  to  below  the 
centre  of  the  door.  H.  Wunderlich  &  Co. 

VI.  The  shading  in  the  water  and  between  the  piles  has  been  considerably 
reduced;  the  reflections  of  the  children  have  reappeared,  and  those  of 
the  two  doorways  in  centre  are  defined.  Between  the  legs  of  the  man 
in  the  doorway  at  right  are  several  strong,  nearly  vertical  lines,  and 
the  six  short  lines — about  one  eighth  of  an  inch  in  length — at  left  of 
the  faint  figure  of  a  child  immediately  under  the  door  at  extreme 

135 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


right,  are  now  crossed  by  seven  or  eight  slanting  lines,  running  from 
right  to  left.  H.  H.  Benedict. 

VII.  There  are  some  new  lines  in  the  water.  The  plate  appears  to  have 
been  scraped,  or  rubbed  down  with  charcoal.  H.  Mansfield. 

411  Church,  Amsterdam,  m.  410.  Gr.  288.  Sup.  355. 

Height  8%.  Width  5%. 

412  Little  Drawbridge,  Amsterdam.  M.  405.  Gr.  283.  W.  263 

Height  7.  Width  5. 

I.  The  effect  is  light.  The  water  at  lower  right  edge  is  unshaded. 
Mrs.  H.  0.  Havemeyer. 

II.  There  is  new  work  all  over  the  plate,  and  vertical  lines  are  at  the 
right  lower  edge.  /.  H.  Wrenn. 

413  The  Mill.  M.  415.  Gr.  292.  Sup.  358. 

Height  Oyi.  Width  9%. 

I.  There  are  only  a  few  slanting  lines  on  the  left  wall  near  the  opening. 
The  late  W.  S.  Carter. 

II.  New  and  closer  slanting  lines  shade  the  left  wall.  Work  is  added 
on  the  sacks,  etc.  There  are  cross-lines  on  the  section  of  the  mill¬ 
stone  to  the  left  of  the  large  post  at  right.  The  sky  is  almost  com¬ 
pletely  removed.  A.  W.  Scholle. 

III.  There  is  new  work  on  the  wall  at  left;  the  wall  at  right,  within  half 
an  inch  of  the  upper  part  of  the  door,  is  now  completely  shaded; 
rain  clouds  are  in  the  sky.  The  work  on  the  sacks,  rafters,  large 
post,  and  floor  at  right,  is  the  same  as  in  iv.  Lenox  Library.  [De¬ 
tail.] 

IV.  The  work  on  the  right  wall,  mentioned  in  iii,  has  been  reduced,  and 
the  effect  lightened  considerably.  F.  L.  Babbott. 

136 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


V.  At  the  upper  edge,  above  and  to  the  right  of  the  doorway,  there  are 
several  series  of  new  lines.  The  shading  on  the  wall,  at  the  right  of 
the  upper  part  of  the  doorway,  has  been  slightly  strengthened ;  new 
lines  are  in  the  sky.  H.  Mansfield. 

414  Little  Nocturne,  Amsterdam.  M.  413.  Gr.  291.  Sup.  359. 

Height  5%6-  Width  3%. 

H.  Mansfield. 

On  the  back  of  this  impression  is  written,  “Only  2  impressions.” 


415  Jews’ Quarter,  Amsterdam,  m.  412.  Gr.  290.  Sup.  357. 

Height  $Vi.  Width  8^Kc- 

416  Zaandam.  M.  414.  Gr.  293.  W.  268. 

Height  5^.  Width  8%. 

I.  Before  the  dry-point  work  in  the  sky.  H.  Mansfield. 

II.  The  arms  are  now  on  the  large  windmill  at  left;  delicate  dry-point 
lines  suggest  rain-clouds.  IV.  H.  Bustin,  Jr. 

417  Quai  DE  Montebello.  M.  366.  Gr.  346.  Sup.  317. 

Height  6.  Width  9. 

I.  The  space  between  the  heads  of  the  two  women  at  left  is  blank. 
B.  Lathrop. 

Not  reproduced. 

II.  There  are  delicate  dry-point  lines  between  the  women’s  heads. 


418  Passages  DE  l’Opera.  m.  367.  Gr.  276.  W.  256. 
Height  5.  Width  8^. 


137 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


419  Rue  DE  la  ROCHEFOUCAULT.  M.  365.  Gr.  345.  Sup.  316. 

Height  51/8.  Width  8%. 

I.  There  are  unshaded  spaces  between  the  two  signs  on  the  open  shop; 
there  are  only  a  few  lines  of  shading  behind  the  woman  inclined 
toward  the  left,  in  the  centre  shop.  E.  G.  Kennedy. 

II.  The  open  shop  between  the  signs,  and  the  woman  in  it,  are  heavily 
shaded;  the  windows  of  the  shop  to  the  right  of  the  butterfly  are 
darkened  by  additional  work,  and  there  is  heavy  shading  around  the 
woman  inclined  forward.  /.  Caldwell. 

420  Carpet-Menders.  M.  416.  Gr.  277.  W.  257. 

Height  7%.  Width  g%. 

H.  Mansfield. 

421  MarCHAND  DE  ViN.  M.  429.  Gr.  348. 

Height  3%6-  Width  7%. 

H.  Mansfield. 

422  Sunflowers,  Rue  des  Beaux-Arts.  M.  417. 

Height  8%.  Width  II.  [Gr.  278.  W.  258. 

I.  Before  the  facade  was  covered  with  close  shading,  etc.  B.  Lathrop. 

II.  The  facade,  except  at  the  extreme  right  and  left,  is  covered  with  fine 
lines;  there  is  another  man  in  the  shop  at  the  left,  and  additional 
shading  under  the  lamp  at  right.  H.  Mansfield. 

423  Boulevard  PoissoNiERE.  M.  418.  Gr.  344.  Sup.  315. 

Height  6%.  Width  9. 

424  Fruit-Shop,  Paris.  M.  427.  Gr.  353. 

Height  5.  Width  $¥2. 


138 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


425  Terrace,  Luxembourg  Gardens,  No.  l.  M.  421. 

Height  5.  Width  6%.  [Gr.  343.  Sup.  314. 

426  Terrace,  Luxembourg  Gardens,  No.  2.  M.  423.  Gr.  352. 

Height  5.  Width  6%. 

427  Balustrade,  Luxembourg  Gardens.  M.  422. 

Height  4%.  Width  8%. 

A.  J.  Parsons. 


428  Bebes,  Luxembourg  Gardens.  M.  420.  Gr.  342.  Sup.  313. 

Height  6%.  Width  5. 

429  Pantheon,  Luxembourg  Gardens.  M.  419. 

Height  3%.  Width  7%. 

430  POLICHINELLE,  LUXEMBOURG  GARDENS.  M.  424. 

Height  4%.  Width  6%. 

Toward  the  right,  in  mid-distance,  two  women  are  sitting  near  a 
statue,  and  further  along,  two  others.  At  the  right  are  two  women, 
one  of  whom  is  standing,  and  a  woman  with  a  baby.  A  group  of 
people  stand  before  a  Punch  and  Judy  show  in  the  distance. 

Not  reproduced. 

Exhibited  in  the  Exposition  des  CEuvres  de  James  McNeill  Whistler, 
Palais  de  I’Ecole  des  Beaux-Arts,  Paris,  May,  1905. 


431  Picture-Shop,  Rue  DE  Seine.  M.  428.  Gr.  355. 
Height  5%.  Width  7%. 

H.  Mansfield. 


139 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


432  Newspaper-Stall,  Rue  de  Seine.  M.  426.  Gr.  349. 

Height  3^.  Width  7%. 

I.  Before  the  erasions  mentioned  in  ii.  H.  Mansfield. 

II.  The  woman,  two  children,  and  part  of  the  boy,  in  centre,  have  been 
burnished  out,  also  the  woman  in  the  passageway  and  part  of  the 
figure  at  left.  Obach  &  Co. 


433  Atelier  de  Bijouterie,  m.  430.  Gr.  350. 

Height  5.  Width  8/4. 

H.  Mansfield. 

434  Cafe  Luxembourg.  M.  425.  Gr.  351. 

Height  3%.  Width  5^/4. 

Chairs  and  tables  are  on  the  sidewalk  under  an  awning  on  which  is 
“Billiards,  Cafe  Rue,”  etc.  Four  saddled  horses  are  in  the  street; 
a  railing  is  in  front  of  the  windows  of  the  second  storey.  The  butter¬ 
fly  is  at  the  top,  an  inch  and  a  quarter  from  the  left. 

Not  reproduced. 


435  Marchand  de  Meubles,  Rue  du  Four.  M.  431. 

Heights.  Width  11%. 

In  the  centre  of  a  doorway  of  a  shop-front  at  the  corner  of  a  street, 
a  man  and  a  woman,  drawn  in,  are  standing.  The  windows  on  each 
side  of  the  doorway  have  awnings,  above  which  are  two  large  win¬ 
dows;  in  the  left  one,  various  pictures,  mirrors,  etc.,  are  hung. 
Above  the  lower  right  window  a  sign  hangs  obliquely  on  which 
appears : 

matel  achats  de  meubles  achats 

D’AGENCEMENT  PRIVE 


140 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


A  man  and  a  woman  are  slightly  indicated  at  extreme  right.  There 
is  no  butterfly. 

Not  reproduced. 

Exhibited  in  the  Exposition  des  Qiuvres  de  James  McNeill  Whistler, 
at  the  Palais  de  I’ficole  des  Beaux-Arts,  Paris,  1905. 

436  Cafe  Corazza,  Palais  Royal,  m.  432. 

Height  8%.  Width  5%. 

Two  windows  (in  each  of  which,  part  of  the  sign  “Corazza”  appears 
near  the  top)  are  on  either  side  of  a  large  doorway,  in  front  and  on 
each  side  of  which  is  a  small  tree.  There  is  no  butterfly. 

Not  reproduced. 

Exhibited  in  the  Exposition  des  Quivres  de  James  McNeill  Whistler, 
Palais  de  I’Ecole  des  Beaux-Arts,  Paris,  1905. 

437  The  Bearskin.  M.  437. 

Height  8%.  Width  5. 

A  slight  sketch  of  a  young  woman  seated,  directed  to  right  and  fac¬ 
ing  nearly  front.  She  wears  a  high  hat,  the  top  of  which  is  deco¬ 
rated  with  what  appears  to  be  a  bird.  The  butterfly  is  at  the  right. 
Not  reproduced. 

Exhibited  at  the  Exposition  des  Qluvres  de  James  McNeill  Whistler, 
Palais  de  I’Ecole  des  Beaux-Arts,  Paris,  1905,  as  “Le  Bonnet  a  Poil. — 
(The  Bushy.)” 

438  Blanchisserie.  M.  433. 

Height  7.  Width  6. 

Within  an  open  doorway,  three  women  and  a  child  stand  about  a 
table.  Beyond  them  is  a  lamp,  and  above  them  hangs  a  large  bird¬ 
cage.  The  sign,  “Mme.  Pelletier,”  is  over  the  doorway,  and  above 
it,  “Blanchisserie.”  The  butterfly  is  near  the  right  edge  of  the  plate. 
Not  reproduced. 


CATALOGUE  OF  WHISTLER’S  ETCHED  WORK 


439  Rue  Vauvilliers.  M.  434. 

Height  8%.  Width  51/8. 

A  four-storeyed  house,  with  a  small  window  on  each  side  of  the 
doorway,  and  two  windows  on  each  storey,  stands  behind  a  railing. 
The  windows  of  the  second  storey  are  partly  open,  and  one  of  the 
third-storey  windows  wide  open;  boxes  of  flowers  are  in  front  of 
the  windows  of  the  fourth  storey.  A  woman  standing  in  front  of  the 
window  at  the  left  of  the  doorway,  and  a  woman  at  the  open  win¬ 
dow,  are  faintly  suggested,  as  are  dogs  in  the  street  at  right  and  left. 
The  butterfly  is  at  the  left  of  the  second-storey  windows,  near  the 
edge  of  the  plate. 

Not  reproduced. 


440  Street  Scene,  m.  435. 

Height  5.  Width  3^. 

A  street ;  a  large  three-storeyed  house  at  the  right. 
Not  reproduced. 


441  Mrs.  Whibley.  M.  438. 

Height  3%.  Width  2^4- 

A  delicate  sketch  of  one  of  Mrs.  Whistler’s  sisters. 
Not  reproduced. 


442  Bohemians,  Corsica,  m.  440.  Gr.  396.  Sup.  360. 

Height  3%6-  Width  2^.6. 

B.  Lathrop. 

This,  the  last  plate  etched  by  Whistler,  was  done  in  Corsica  in  the 
winter  of  1900- 1. 


142 


APPENDIX 


I  Anacapa  Island.  M.  app.  L 

Size  inside  the  inner  lines :  Height  5^.  Width  8%. 

The  plate  is  in  the  possession  of  the  United  States  Coast  and  Geodetic 
Survey  at  Washington. 

II  Portrait  of  a  Lady.  m.  app.  II. 

Height  ^Ys.  Width  3%. 

I  have  not  been  able  to  obtain  any  information  regarding  this  etch 
ing.  Sir  Seymour  Haden  is  very  infirm  and  his  sight  much  impaired, 
so  that  he  cannot  throw  any  light  on  the  matter.  Mr.  Percy  Thomas 
thinks  that  it  is  by  Whistler,  as  does  Mr.  E.  Deprez.  It  is  undoubt¬ 
edly  an  early  portrait  of  Mrs.  Haden,  afterward  Lady  Haden,  probably 
etched  by  Whistler  when  he  lived  with  that  family. 

E.  L.  Knoedler. 

III  Fitzroy  Square.  M.  app.  IV. 

Height  4%.  Width  3I4. 

Etched  by  Whistler,  but  bitten  by  Mr.  Frank  Short  after  Whistler’s 
death.  The  plate  is  owned  by  Mr.  T.  A.  Way. 

IV  Robert  Barr.  M.  app.  V. 

Height  4%.  Width  3%. 

This  plate,  said  to  have  been  done  by  Whistler  in  1894,  came  into  the 
possession  of  Mr.  Walter  Sickert,  and  was  bitten-in  several  years 
after  Whistler’s  death.  An  edition  of  forty-five  impressions  was  pub¬ 
lished  by  Messrs.  Baillie  and  Gardiner,  in  London,  in  1908.  The  plate 
was  then  cancelled. 


143 


ADDENDA 

Two  impressions  of  No.  171,  “Irving  as  Philip  the  Second,  No.  2,” 
showing  additional  variations,  have  come  to  my  notice,  too  late  for  in¬ 
sertion  in  the  body  of  the  catalogue. 

The  first  of  them  belongs  between  the  third  and  fourth  states  already 
described. 

The  spaces  between  the  slanting  parallel  lines  in  the  left  background, 
opposite  the  thigh,  have  been  crossed  by  other  slanting  lines,  and  there 
are  new  fine  lines  on  the  chest,  above  the  hand.  H.  Mansfield. 

The  other  should  follow  iv. 

Horizontal  lines  in  the  right  background  run  from  the  shoulder  to  the 
bottom  of  the  cape.  The  right  arm  is  indicated  by  fine,  close  lines,  and 
there  are  new  fine  lines  on  the  lower  part  of  the  legs,  the  end  of  the  right 
one  looking  almost  like  an  inverted  leafless  bush. 

This  state  may  be  seen  in  “Fifty-seven  Defaced  Etchings  and  Dry- 
points  by  J.  A.  McNeill  Whistler.”  The  Fine  Art  Society,  Limited. 


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INDEX 


Abbey  Jubilee  .... 

“Adam  and  Eve,”  Old  Chelsea,  The 
After  the  Sale,  Hounsditch 
Agnes  ...... 

Agnes  Sorel’s  Walk,  From 
Alderney  Street 
Alexander,  Miss 
Amsterdam,  from  the  Tolhuis  . 
Anacapa  Island  .... 

Annie . 

Annie,  Seated  .... 
Annie  Haden  .... 
Annie  Haden  with  Books  . 
Archway,  Brussels 
Arthur,  Little  .... 
Arthur  Haden  .... 
Astruc,  a  Literary  Man 
Atelier  de  Bijouterie 
Au  SiXIEME  .... 

August  Delatre  .... 
Axenfeld  ..... 

Babies,  Gray’s  Inn 

Baby,  Greedy  (Gipsy  Baby)  . 

Baby  Pettigrew  .... 


Number 

Page 

.  316 

119 

•  175 

66 

.  294 

116 

•  134 

48 

•  385 

129 

.  238 

105 

•  139 

50 

.  91 

33 

App.  I 

143 

10 

5 

•  30 

12 

62 

24 

8 

4 

.  366 

126 

9 

4 

61 

23 

•  53 

20 

•  433 

140 

3 

3 

26 

1 1 

.  64 

24 

.  298 

117 

•  339 

122 

•  341 

122 

147 


INDEX 


Balcony,  The 

Number 

.  207 

Page 

89 

Balcony,  Amsterdam  . 

•  405 

132 

Balustrade,  Luxembourg  Gardens 

.  427 

139 

Barber’s,  The 

.  271 

II2 

Barr,  Robert 

App.  IV 

143 

Barrow,  Brussels,  The 

•  357 

124 

Battersea:  Dawn 

•  155 

57 

Battersea:  Early  Morning  (Cadogan  Pier) 

•  75 

29 

Battersea  Bridge,  Old 

•  177 

67 

Battersea  Bridge,  Sketch  of 

•  311 

118 

Battersea  Bridge,  Under  Old 

.  176 

66 

Battersea  Bridge  (No.  3) 

•  311 

118 

Battersea  Reach 

.  90 

33 

Beach,  The  , 

.  116 

44 

Beach,  Ostend,  The  . 

•  354 

124 

Bead-Stringers 

.  198 

82 

Bearskin,  The  . 

•  437 

141 

Bebes,  Luxembourg 

.  428 

139 

Becquet  .... 

•  52 

19 

Beggars,  The  . 

•  194 

77 

Bibi  Lalouette 

•  51 

19 

Bibi  Valentin 

•  50 

19 

Bijouterie,  Atelier  de 

•  433 

140 

Billingsgate 

•  47 

17 

Billingsgate,  A  Sketch  from 

.  168 

62 

Binding  the  Hair 

•  344 

123 

Bird-Cages,  Chelsea 

.  276 

113 

Bird-Cages,  Drury  Lane 

.  281 

113 

Black  Eagle 

.  312 

118 

Black  Lion  Wharf 

•  42 

16 

Blanchisserie 

•  438 

141 

Boats,  Dordrecht  (Boats  on  the  Maas) 

•  244 

107 

Bohemians,  Corsica 

. 

.  442 

142 

148 


INDEX 


Bonnet-Shop,  The 

Number 
•  253 

Page 

108 

Booth  at  a  Fair  .... 

•  249 

108 

Boulevard  Poissoniere 

•  423 

138 

Boy,  The  . 

•  135 

48 

Brewery,  “Swan”  (“The  Swan,”  Chelsea) 

.  98 

36 

Bridge,  The . 

.  204 

87 

Bridge,  Amsterdam 

•  409 

134 

Brussels  Children 

•  365 

126 

Bucking  Horse,  The  . 

•  315 

II9 

Buffalo  Bill,  Wild  West  . 

•  313 

I18 

Bunting  ..... 

•  324 

120 

Busy  Chelsea:  Fish-Shop  . 

.  .  264 

III 

Butcher’s  Shop,  Sandwich 

•  308 

I18 

Butter  Street,  Brussels 

•  364 

125 

Butter  Street,  Brussels,  Little 

•  367 

126 

Cadogan  Pier  .... 

•  75 

29 

Cafe  Corazza,  Palais  Royal 

•  436 

I4I 

Cafe  Luxembourg 

.  . 

•  434 

140 

Cameo  No.  i  (Mother  and  Child) 

•  347 

123 

Cameo  No.  2  .... 

•  348 

123 

Canal,  Ostend  .... 

•  353 

124 

Canal,  Quiet  .... 

.  214 

96 

Candle- Works,  Price’s 

•  154 

56 

Carpet-Menders  .... 

.  420 

138 

Cathedral,  Blois,  Under  the 

•  397 

130 

Cellar  Door,  Tours 

•  377 

127 

Chancellerie,  Loches 

•  383 

128 

Chapel  Doorway,  Montresor 

•  395 

130 

Charing  Cross  Railway-Bridge  . 

•  310 

II8 

Chateau,  Amboise 

•  393 

130 

Chateau,  Touraine 

•  379 

128 

Chateau  Bridorez 

•  378 

128 

149 


INDEX 


Number 

Page 

Chateau  Verneuil 

.  380 

128 

Chelsea  (Memorial)  . 

•  331 

I2I 

Chelsea  Bridge  and  Church 

•  95 

34 

Chelsea  Wharf  . 

.  .  .  89 

33 

Child  on  a  Couch,  No.  i 

124 

45 

Child  on  a  Couch,  No.  2 

•  125 

45 

Children,  Brussels 

•  365 

126 

Children,  Gray’s  Inn  . 

•  301 

117 

Children,  The  Menpes 

.  261 

no 

Children,  Portsmouth 

•  323 

120 

Church,  Amsterdam 

.  411 

136 

Church,  Brussels 

•  356 

124 

Church  Doorway,  Edgemere 

•  303 

117 

City,  London,  Gates  . 

.  283 

1 14 

Clock-Tower,  Amboise 

•  394 

130 

Clothes-Exchange,  No.  i 

.  287 

114 

Clothes-Exchange,  No.  2 

.  288 

115 

Clothes  Shop,  No.  i.  Old-  . 

•  257 

109 

Clothes  Shop,  No.  2,  Old-  . 

.  258 

109 

Coast  Survey  Plate,  Sketches  on  the 

I 

3 

Cock  and  the  Pump,  The 

•  304 

117 

Corner  of  the  Palais  Royal 

.  248 

107 

Cottage  Door 

.  250 

108 

Court  of  the  Monastery  of  St.  Augustine 

,  Bourges  .  398 

130 

Courtyard,  Brussels  . 

•  355 

124 

Courtyard,  Rue  P.  L.  Courier 

.  .  368 

126 

Courtyard,  Venice  (Venetian 

Court) 

.  230 

103 

Curtain,  The  Embroidered  (The  Lace  Curtain)  .  410 

135 

Custom  House 

.  150 

55 

Cutler  Street,  Hounsditch 

.  292 

115 

Dam  Wood,  The  . 

.  145 

52 

Dance-House:  Nocturne 

150 

.  408 

134 

INDEX 


Daumont,  Place  . 

Dawn:  Battersea 
Delannoy,  Sketching 
Delatre,  August  . 

Desk,  The  .... 

Dieppe,  Sketch  at 
Dipping  the  Flag 
Dog  on  the  Kennel,  The  . 

Door,  Tours,  Cellar 
Doorway,  The  . 

Doorway,  Gray’s  Inn  . 

Doorway,  Montresor,  Chapel 
Doorway,  Sandwich 
Doorway,  Sandwich,  Double 
Doorway,  Touraine 
Doorway  and  Vine 
Doorways,  Two  . 

Dordrecht  .... 

Dordrecht,  Boats  (Boats  on  the  Maas) 
Dordrecht,  Little 
Double  Doorway,  Sandwich 
Draped  Girl  Reclining 
Drawbridge,  Amsterdam,  The  Little 
Dray  Horse,  Paris 
Dress,  The  Japanese  . 

Dress,  The  Little  Velvet  . 

Dress,  The  Silk  . 

Dress,  The  Velvet 
Drouet  ..... 

Drury  Lane 

Dry-Dock,  Southampton 
Dutchman  Holding  a  Glass,  The 
Dyer,  The  . 

151 


Number 

Page 

•  369 

126 

•  155 

57 

•  25 

II 

26 

II 

•  133 

47 

.  246 

107 

•  325 

120 

.  18 

8 

•  377 

127 

.  188 

72 

.  300 

117 

•  395 

130 

•  307 

118 

•  306 

117 

■  381 

128 

.  196 

79 

•  193 

76 

.  242 

107 

•  244 

107 

•  243 

107 

•  306 

117 

.  121 

45 

.  412 

136 

.  247 

107 

•  337 

122 

.  106 

39 

107 

39 

.  105 

38 

•  55 

21 

•  237 

105 

.  322 

120 

4 

4 

.  219 

99 

INDEX 


Eagle,  Black  .... 

Number 

•  312 

Page 

I18 

Eagle  Wharf  (Tyzac,  Whiteley  &  Co.) 

.  41 

15 

Early  Morning,  Battersea 

•  75 

29 

Early  Portrait  of  Whistler 

7 

4 

Elinor  Leyland  .... 

.  109 

40 

Embankment,  Sketch  on  the 

.  260 

no 

Embroidered  Curtain,  The 

.  410 

135 

En  Plein  Soleil  .  .  ... 

•  15 

7 

Encamping  (The  Encampment) 

.  82 

31 

Engraver,  The  _  . 

•  .  65 

25 

Exeter  Street  .... 

.  280 

113 

Fan,  The  (Model  No.  3) 

•  345 

123 

Fanny  Leyland  .... 

.  108 

39 

Fiddler,  The 

•  52 

19 

Finette  ..... 

.  .  58 

22 

Fish-Market,  Ostend  . 

•  349 

123 

Fish-Shop,  Busy  Chelsea  . 

.  264 

in 

Fish-Shop,  Venice 

.  218 

98 

Fishing  ..... 

.  .  83 

31 

Fishing-Boat  .... 

.  208 

91 

Fishing-Boats,  Hastings 

•  .  158 

58 

Fishing-Quay,  Ostend  . 

•  352 

124 

Fitzroy  Square  .... 

.  App.  Ill 

143 

Fleet,  Evening,  The  . 

•  326 

120 

Fleur  de  Lys  Passage 

.  289 

115 

Florence  Leyland 

.  no 

40 

Flower-Market,  Brussels  . 

•  359 

125 

Forge,  The  . 

.  68 

26 

Forge,  The  Little 

•  147 

53 

Fosco  . 

. 

.  99 

36 

Fragment  of  Piccadilly 

.  256 

109 

152 


INDEX 


Free  Trade  Wharf 
French  Set,  The  Title  to  the 
F.  R.  Leyland 
F.  R.  Leyland’s  Mother 
From  Agnes  Sorel’s  Walk  . 
From  Pickle-Herring  Stairs 
Fruit-Shop  .... 
Fruit-Shop,  Paris 
Fruit-Shop,  T.  A.  Nash’s  . 
Fruit-Shop,  Woods’s  . 

Fruit -Stall  .... 
Fulham  .... 
Fumette  .... 
Fumette,  Standing 
Fumette’s  Bent  Head  . 

Fur  Cloak,  The  . 

Furnace:  Nocturne 
Furniture-Shop  . 

Garden,  The 
Gates,  City,  London 
Gateway,  Chartreux 
Gentleman  Reading 
Gerard,  La  Mere  . 

Gerard,  Stooping,  La  Mere  . 
Gipsy  Baby  (Greedy  Baby)  . 
Girl,  Nude,  Sketch  of  a 
Girl,  Seated 
Girl  Leaning 
Girl  Lying  Down 
Girl  Resting 
Girl  Sleeping 


Number 

Page 

.  163 

59 

•  25 

II 

.  102 

37 

.  103 

38 

•  385 

129 

.  167 

61 

•  259 

109 

•  424 

138 

.  263 

no 

•  265 

III 

.  200 

84 

.  182 

69 

•  13 

6 

•  56 

21 

•  57 

21 

•  332 

121 

•  213 

95 

.  266 

III 

.  210 

93 

•  283 

114 

•  396 

130 

•  137 

49 

II 

6 

12 

6 

•  339 

122 

126 

46 

.  118 

45 

.  119 

45 

.  124 

45 

.  100 

36 

.  125 

45 

153 


1 


INDEX 


Girl  Standing 
Girl  with  Large  Eyes 
Glass-Furnace,  Murano 
Gold-House,  Brussels  . 

Gondola  under  a  Bridge 
Grand’  Place,  Brussels 
Gray’s  Inn  Place 
Greedy  Baby  (Gipsy  Baby)  . 
Greengrocer’s  Shop 
Greenhithe 
Greenwich  Park 
Greenwich  Pensioner 
Gretchen  at  Heidelberg 
Guitar  Player,  The  . 

Haden,  Annie 

Haden,  Annie,  with  Books  . 

Haden,  Arthur  . 

Haden,  Mrs. 

Hangman’s  House,  Tours 
Hansom  Cab  (Wimpole  Street) 
Hastings,  Fishing-Boats 
Hat,  The  Little  . 

Heads,  Sketch  of 
High  Street,  Brussels 
Hotel  Croix  Blanche,  Tours 
Hotel  de  Ville,  Loches 
Hotel  de  la  Promenade,  Loches 
Hotel  Lallement,  Bourges 
House  of  the  Swan,  Brussels 
Houses,  Sketch  of 
Hungerford  Bridge,  Old 
Hurlingham 


Number 

Page 

•  I31 

47 

•  131 

47 

.  217 

97 

•  360 

125 

.  227 

102 

•  362 

125 

•  297 

I16 

•  339 

122 

•  259 

109 

•  165 

60 

•  35 

14 

•  34 

13 

20 

9 

.  140 

50 

62 

24 

8 

4 

61 

23 

App.  II 

143 

•  376 

127 

.  286 

114 

.  158 

58 

•  335 

121 

.  104 

38 

•  358 

125 

•  373 

127 

•  384 

129 

•  391 

130 

•  399 

131 

•  363 

125 

.  161 

59 

•  76 

29 

.  181 

68 

154 


INDEX 


Irving  as  Philip  of  Spain,  No.  i  . 
Irving  as  Philip  of  Spain,  No.  2  . 
Islands  ..... 

Isle  de  la  Cite,  Paris  . 

Japanese  Dress,  The  . 

Jews’  Quarter,  Amsterdam 

Jo . 

Jo’s  Bent  Head  .... 
Jubilee,  Abbey  .... 
Jubilee  Place,  Chelsea 
Justice  Walk,  Chelsea 

King’s  Road,  Chelsea 
Kitchen,  The  . 

Lace  Curtain,  The  . 

Lady  at  a  Window,  A  . 

Lady  Haden  .... 
Lady  in  an  Arm-Chair 
Lady  Standing  .... 
Lady  Wearing  a  Hat  with  a  Feather 
Lagoon,  The  Little 
Lagoon,  Long  .... 
Lagoon  :  Noon  .... 
Lalouette,  Bibi  .... 
Landing-Stage,  Cowes 
Landscape  with  the  Fisherman 
Landscape  with  the  Horse 
Large  Pool,  The  . 

Lenoir,  Miss  .... 
Leyland,  Elinor  .... 
Leyland,  Fanny  .... 
Leyland,  Florence 


Number 

Page 

.  170 

64 

.  171 

64 

.  222 

100 

60 

23 

•  337 

122 

.  415 

137 

•  77 

30 

.  78 

30 

•  316 

II9 

.  274 

II3 

•  275 

II3 

.  278 

II3 

•  24 

II 

.  410 

135 

.  138 

49 

App.  II 

143 

•  79 

30 

•  130 

46 

•  130 

46 

.  186 

71 

.  203 

87 

.  216 

97 

•  51 

19 

•  328 

120 

•  83 

31 

•  36 

14 

.  174 

65 

•  334 

121 

.  109 

40 

.  108 

39 

.  no 

40 

155 


INDEX 


Leyland,  F.  R.  . 

Number 

.  102 

Page 

37 

Leyland’s  Mother,  F.  R.  (Madam  Leyland) 

.  103 

38 

Lime-Burner,  The 

46 

17 

Limehouse  ...... 

.  40 

15 

Lindsey  Houses . 

.  166 

61 

Little  Arthur  ..... 

9 

4 

Little  Boy,  A  (Seymour  Seated) 

•  29 

12 

Little  Butter  Street,  Brussels 

•  367 

126 

Little  Chelsea  ..... 

•  331  ' 

121 

Little  Court  ..... 

.  236 

105 

Little  Dordrecht  .... 

•  243 

107 

Little  Drawbridge,  Amsterdam,  The 

.  412 

136 

Little  Forge,  The 

.  147 

53 

Little  Hat,  The 

■  335 

121 

Little  Lagoon,  The  . 

.  186 

71 

Little  Market-Place,  Tours 

•  375 

127 

Little  Mast,  The 

.  185 

71 

Little  Maunder’s  .... 

.  279 

113 

Little  Model,  Seated 

•  346 

123 

Little  Nocturne,  Amsterdam 

.  414 

137 

Little  Nude  Figure  .... 

•  340 

122 

Little  Nurse,  The  . 

.  302 

117 

Little  Pool,  The 

•  74 

28 

Little  Putney,  No.  i,  The  . 

.  179 

68 

Little  Putney,  No.  2,  The  . 

.  180 

68 

Little  Salute  ..... 

.  220 

100 

Little  Smithfield  .... 

.  160 

59 

Little  Steps,  Chelsea 

.  262 

no 

Little  Velvet  Dress,  The  . 

.  106 

39 

Little  Venice  .... 

.  183 

70 

Little  Wapping  ..... 

•  73 

28 

Little  Wheelwright’s,  The 

•  245 

107 

Liverdun  ...... 

16 

7 

INDEX 


Lobster-Pots  .... 
London  Bridge  .... 
Long  House — Dyer’s— Amsterdam 
Long  Lagoon  .... 
Long  Venice  .... 
Longshoremen  .... 
Luxembourg  Gardens 

Mairie,  Loches  .... 
Man  Holding  a  Glass 
Man  Reading,  A  . 

Mann,  Mr . 

Mantle,  The 

Marbles  ..... 
Marchand  de  Meubles,  Rue  du  Four 
Marchand  de  Vin,  Paris 
Marchande  de  Moutarde,  La 
Market,  Calais  .... 
Market,  Loches,  Poultry  . 

Market,  Ostend  .... 
Market-Place,  Bruges 
Market-Place,  Loches 
Market-Place,  Tours  . 
Market-Place,  Tours,  Little 
Market-Women,  Loches 
Mast,  The  . 

Mast,  The  Little 

Maude,  Seated  .... 

Maude,  Standing 

Maunder’s,  Little 

Meadow,  The 

Melon-Shop,  Hounsditch  . 

Menpes  Children,  The 


Number 

Page 

•  235 

104 

•  153 

56 

.  406 

133 

.  203 

87 

.  212 

94 

•  45 

17 

.  429 

139 

•  382 

128 

4 

4 

•  137 

49 

•  63 

24 

•  336 

122 

.  284 

114 

•  435 

140 

.  421 

138 

22 

10 

•  350 

123 

•  389 

129 

•  349 

123 

•  351 

123 

.  388 

129 

•  374 

127 

•  375 

127 

.  386 

129 

•  195 

79 

.  185 

71 

•  115 

43 

.  114 

42 

•  279 

113 

•  36 

14 

•  293 

116 

.  261 

no 

157 


INDEX 


Mere  Gerard,  La  . 

Mere  Gerard,  Stooping,  La 
Merton  Villa,  Chelsea 
Mill,  The  . 

Millbank  .... 
Milman’s  Row,  Rag-Shop 
Miser,  The  . 

Miss  Alexander  . 

Miss  Lenoir 
Model,  A:  Tillie 
Model  Lying  Down 
Model  No.  3  (The  Fan) 

Model  Resting 
Model  Seated,  Little  . 

Model  Stooping  . 

Model  with  Fan  . 

Monitors  .... 
Mother  and  Child 
Mrs.  Whibley 
Muff,  The  . 

Murano,  Glass-Furnace 
Music-Room,  The 

Newspaper-Stall,  Rue  de  Seine 
Nocturne  .... 
Nocturne,  Amsterdam,  Little 
Nocturne:  Dance-House 
Nocturne:  Furnace 
Nocturne:  Palaces 
Nocturne:  Salute 
Nocturne:  Shipping 
Nora  Quinn 
Notre  Dame,  Bourges  . 


Number 

Page 

II 

6 

12 

6 

277 

I13 

413 

136 

71 

27 

272 

II2 

69 

26 

139 

50 

334 

I2I 

117 

44 

121 

45 

345 

123 

100 

36 

346 

123 

342 

122 

345 

123 

318 

1 19 

347 

123 

441 

142 

113 

42 

217 

97 

33 

13 

432 

140 

184 

70 

414 

137 

408 

134 

213 

95 

202 

85 

226 

102 

223 

lOI 

333 

121 

402 

131 

INDEX 


Nude  Figure,  Little  . 

Number 

•  340 

Page 

122 

Nude  Figure  Posing  . 

127 

46 

Nude  Figure  Reclining 

•  343 

122 

Nude  Girl  Reclining  . 

126 

46 

Nude  Girl  Standing  . 

.  128 

46 

Nude  Girl  with  Arms  Raised  . 

.  129 

46 

Nude  Woman  Standing 

•  123 

45 

Nurse,  The  Little 

•  302 

117 

Nursemaid  and  Child  . 

•  37 

14 

Nut-Shop,  St.  James’s  Place 

.  291 

115 

Old  Battersea  Bridge  . 

•  177 

67 

Old  Chelsea,  “The  Adam  and  Eve” 

•  175 

66 

Old-Clothes  Shop,  No.  i  . 

•  257 

109 

Old-Clothes  Shop,  No.  2  . 

•  258 

109 

Old  Hungerford  Bridge 

•  76 

29 

Old  Putney  Bridge 

.  178 

67 

Old  Westminster  Bridge 

•  39 

15 

Old  Women  ..... 

.  224 

lOI 

On  the  Embankment  . 

.  260 

no 

Open  Book,  The  . 

.  84 

31 

Opposite  Lindsey  Row  (Steamboat  Fleet) 

•  156 

57 

Orator,  The 

•  314 

118 

Palaces,  The 

.  187 

72 

Palaces,  Brussels 

•  361 

125 

Palaces:  Nocturne 

.  202 

85 

Palais  Royal,  Corner  of 

.  248 

107 

Pantheon,  Luxembourg  Gardens 

•  429 

139 

Paris  :  Isle  de  la  Cite  . 

60 

23 

Park,  Greenwich 

•  35 

14 

Passages  de  l’Opera  . 

.  418 

137 

Penny  Boat  .... 

•  67 

26 

159 


INDEX 


Pensioner,  Greenwich 
Petticoat  Lane  .... 
Pettigrew,  Baby  .... 
Philip  of  Spain,  No.  i,  Irving  as 
Philip  of  Spain,  No.  2,  Irving  as 

Piano,  The . 

PiAZZETTA,  The  . 

Pickle-Herring  Stairs,  From 
Picture-Shop,  Rue  de  Seine 
Pierrot  ..... 
Place  Daumont  .... 
POLICHINELLE,  LUXEMBOURG  GARDENS 
Ponte  del  Piovan 

Pool,  The . 

Pool,  The  Large  .... 
Pool,  The  Little 
Pool,  The  Tiny  .... 
Portrait  of  a  Lady 
Portrait  of  Whistler 
Portrait  Sketches 
Portsmouth  Children 
Poultry-Market,  Loches 
Price’s  Candle-Works 

Punt,  The . 

Putney,  No.  I,  The  Little  . 
Putney,  No.  2,  The  Little  . 

Putney  Bridge,  Old 

Quai  de  Montebello  . 

Quartier  Mouffetard 
Quay,  Ostend  .... 

Quiet  Canal  .... 

Quinn,  Nora  .... 

160 


Number  Page 

•  34  13 

.  285  1 14 

.  341  122 

.  170  64 

171  64 

.  141  50 

•  189  73 

.  167  61 

•  431  139 

•  407  133 

.  369  126 

•  430  139 

.  209  92 

•  43  16 

•  174  65 

.  74  28 

•  173  64 

App.  II  143 

.  54  20 

•  loi  37 

■  323  120 

•  389  129 

•  154  56 

•  85  31 

1 79  68 

180  68 

.  178  67 

•  417  137 

•  23  10 

•  352  124 

.  214  96 

.  333  121 


INDEX 


Rag-Gatherers’,  The  . 

Rag-Shop,  Milman’s  Row  . 
Rag-Shop,  St.  Martin’s  Lane 
Railway-Arch  .... 
Railway-Bridge,  Charing  Cross  . 
Railway-Station,  Voves 
Ramparts,  Sandwich  . 

Ratcliffe  Highway 
Reading  a  Book  .... 
Reading  by  Lamplight 
Reading  in  Bed  .... 
Regent’s  Quadrant 
Renaissance  Window,  Loches 
Resting  ..... 
Resting  by  the  Stove  . 

Retameuse,  La  .... 

Return  to  Tilbury 

Rialto,  The 

Riault,  The  Engraver 

Riva,  No.  I,  The  .... 

Riva,  No.  2,  The  . 

Riva:  Nocturne  .... 
River  Sketch,  A  . 

Robert  Barr  .... 
Rochester  Row  .... 
Ross  WiNANS  .... 
Rotherhithe  .... 
Rue  de  la  Rochefoucault  . 

Rue  de  Seine,  Newspaper-Stall  . 
Rue  de  Seine,  Picture-Shop 
Rue  des  Bons  Enfants,  Tours 
Rue  DU  Four,  Marchand  de  Meubles 
Rue  P.  L.  Courier,  Courtyard 

i6i 


Number 

Page 

•  23 

10 

.  272 

II2 

.  282 

113 

.  268 

III 

•  310 

118 

•  371 

126 

•  309 

118 

.  80 

30 

III 

41 

•  32 

13 

28 

12 

•  239 

105 

•  390 

130 

.  II9 

45 

•  338 

122 

.  14 

7 

•  327 

120 

.  2II 

94 

•  65 

25 

192 

75 

.  206 

89 

.  184 

70 

.  87 

32 

App.  IV 

143 

.  269 

112 

.  88 

32 

66 

25 

.  419 

138 

•  432 

140 

•  431 

139 

•  372 

126 

•  435 

140 

.  368 

126 

INDEX 


Rue  Vauvilliers  .... 
Ryde  Pier  ..... 

Sail,  The  . 

Salute,  La,  Dawn 
Salute,  Little  .... 
Salute:  Nocturne 
Salvation  Army,  Sandwich 
San  Biagio  ..... 

San  Giorgio . 

Savoy  Scaffolding 
Scotch  Widow,  The  . 
Seamstress,  The  . 

Seated  Girl  ..... 
Seats,  Gray’s  Inn 
Seymour  [Arthur  Haden]  . 
Seymour,  Seated  (A  Little  Boy) 
Seymour  Standing 
Seymour  Standing  under  a  Tree 
Shaving  and  Shampooing  . 
Shipbuilder’s  Yard 
Shipping:  Nocturne 
Shipping,  Venice 
Shipping  at  Liverpool 
Ships,  Sketch  of  ... 

Ships,  Two . 

Silk  Dress,  The  . 

SiXIEME,  Au  .... 
Sketch  at  Dieppe 
Sketch  at  Limehouse  . 

Sketch  from  Billingsgate,  A 
Sketch  in  St.  James’s  Park 
Sketch  of  Battersea  Bridge 

162 


Number 

Page 

•  439 

142 

.  328 

120 

•  157 

58 

.  215 

96 

.  220 

100 

.  226 

102 

•  305 

II7 

.  197 

81 

.  201 

85 

.  267 

III 

142 

51 

.  252 

108 

.  118 

45 

.  299 

117 

61 

23 

.  29 

12 

6 

4 

•  31 

12 

•  273 

1 12 

.  146 

53 

.  223 

lOI 

.  229 

103 

•  94 

34 

•  151 

55 

.  148 

54 

.  107 

39 

3 

3 

.  246 

107 

•  67 

26 

.  168 

62 

•  255 

108 

•  311 

118 

INDEX 


Sketch  of  a  Girl,  Nude 
Sketch  of  Heads  .... 
Sketch  of  Houses  .... 
Sketch  of  Ships  (Sketch  of  Shipping) 
Sketch  on  the  Embankment 
Sketches,  Portrait  .... 

Sketches,  Two . 

Sketches,  Two  Slight 
Sketches  of  a  Girl  and  Woman  . 
Sketches  of  Two  Heads 
Sketches  on  the  Coast  Survey  Plate 
Sketching,  No.  i  .... 
Sketching,  No.  2  .... 

Slipper,  The 
Smith  FIELD,  Little  ,  . 

Smithy,  The 

SouPE  A  Trois  Sous  .... 
Southampton  Docks  .... 
Speke  Hall,  No.  i  .... 
Speke  Hall,  No.  2 

Speke  Shore  ..... 

Square  House,  Amsterdam  . 

St.  James’s  Park,  Sketch  in 
St.  James’s  Place,  Hounsditch  . 

St.  James’s  Street  .... 

St.  Martin’s  Lane,  Rag-Shop 
Stables  ...... 

Steamboat,  Venice  .... 

Steamboat  Fleet  :  Opposite  Lindsey  Row 

Steamboats  off  the  Tower 

Steps,  Amsterdam  .... 

Steps,  Chelsea,  Little 

Steps,  Gray’s  Inn  .... 


Number 

Page 

.  126 

46 

.  104 

38 

.  161 

59 

•  151 

55 

.  260 

no 

.  lOI 

37 

.  122 

45 

.  120 

45 

.  122 

45 

.  120 

45 

I 

3 

.  86 

32 

.  87 

32 

.  28 

12 

.  160 

59 

.  240 

106 

.  49 

19 

•  322 

120 

.  96 

35 

•  143 

51 

.  144 

52 

.  404 

132 

•  255 

108 

.  290 

115 

.  169 

63 

.  282 

113 

•  225 

lOI 

.  228 

102 

■  156 

57 

•  149 

54 

•  403 

131 

.  262 

no 

•  295 

116 

163 


INDEX 


Storm,  The  ....... 

Number 

.  81 

Page 

31 

Street  at  Saverne  ..... 

.  19 

8 

Street  Scene  ...... 

.  440 

142 

Sunflowers,  Rue  des  Beaux  Arts 

.  422 

138 

Survey  Plate,  Sketches  on  the  Coast 

I 

3 

“Swan,  The”  Chelsea  (“Swan  Brewery”) 

.  98 

36 

Swan  and  Iris  ...... 

.  241 

106 

Sweet-Shop,  Village  ..... 

.  251 

108 

Swinburne  . 

.  136 

49 

T.  A.  Nash’s  Fruit-Shop  .... 

.  263 

no 

Tatting  ....... 

1 12 

41 

Temple  ....... 

•  234 

104 

Temple  Bar  ....... 

.  162 

59 

Terrace,  Luxembourg  Gardens,  No.  i 

•  425 

139 

Terrace,  Luxembourg  Gardens,  No.  2 

.  426 

139 

Thames,  The 

.  86 

32 

Thames,  The  Troubled  .... 

•  152 

55 

Thames  Police  (Wapping  Wharf) 

.  44 

16 

Thames  Sketch,  A  ....  . 

.  48 

18 

Thames  towards  Frith,  The 

•  165 

60 

Thames  Warehouses,  from  Thames  Tunnel  Pier 

•  38 

14 

Theatre,  Loches  ..... 

•  387 

129 

Tilbury  ....... 

•  317 

119 

Tillie  :  A  Model . 

•  117 

44 

Tiny  Pool,  The . 

•  173 

64 

Title  to  the  French  Set  .... 

•  25 

II 

Toilet,  The  ...... 

•  93 

34 

Tour  St.  Antoine,  Loches  .... 

•  392 

130 

Tower,  The  White . 

.  150 

55 

Towing-Path,  The  ..... 

•  254 

108 

Traghetto,  No.  i.  The  .... 

.  190 

74 

Traghetto,  No.  2,  The 

.  191 

74 

164 


INDEX 


Number 

Page 

Trees  in  a  Park  . 

2 

3 

Troop  Ships  . 

. 

•  319 

1 19 

Troubled  Thames,  The 

.  152 

55 

Turkeys  .... 

.  199 

83 

Turret-Ship,  The 

.  321 

119 

Two  Doorways 

•  193 

76 

Two  Ships  .... 

.  148 

54 

Two  Sketches 

122 

45 

Two  Slight  Sketches  . 

120 

45 

Tyzac,  Whiteley  &  Co.  (Eagle  Wharf) 

.  41 

15 

Under  Old  Battersea  Bridge 

.  176 

66 

Under  the  Cathedral,  Blois 

•  397 

130 

Unsafe  Tenement,  The 

•  17 

8 

Upright  Venice  . 

• 

• 

•  205 

88 

Valentin,  Bibi 

•  50 

19 

Vauxhall  Bridge 

.  70 

27 

Velvet  Dress,  The 

.  105 

38 

Velvet  Dress,  The  Little  . 

.  106 

39 

Venetian  Court  . 

•  230 

103 

Venetian  Mast,  The  . 

•  195 

79 

Venetian  Water-Carrier  . 

•  232 

103 

Venice  .... 

.  231 

103 

Venice,  Little 

•  .  183 

70 

Venice,  Long 

.  212 

94 

Venice,  Upright  . 

.  205 

88 

Venus  . 

•  59 

23 

ViEILLE  AUX  LoQUES,  La 

21 

9 

View  from  Billingsgate,  A 

.  168 

62 

Village  Sweet-Shop 

•  251 

108 

Visitors’  Boat 

165 

• 

•  320 

1 19 

INDEX 


Wapping  (Rotherhithe) 

Wapping,  Little  .... 

Wapping  Wharf  (Thames  Police) 
Water-Carrier,  Venetian  . 
Weary  ...... 

Westminster  Bridge,  Old  . 
Westminster  Bridge  in  Progress 
Wharf,  A  ....  . 

Wheelwright  .... 

Wheelwright’s,  The  Little 
Whibley,  Mrs.  .... 

Whistler,  Early  Portrait  of 
Whistler,  Portrait  of 
Whistler  with  the  White  Lock 
Whistler’s  Mother 
White  Tower,  The  . 

Widow,  The  Scotch 

Wild  West  ..... 

Wild  West,  Buffalo  Bill  . 
WiMPOLE  Street  .... 

WiNANS,  Ross  .... 

Window,  Loches,  Renaissance  . 
Windows,  Bourges 
Windows  Opposite  Hotel,  Bourges 
Windsor  (Memorial)  . 

Windsor,  No.  2  ...  . 

Wine-Glass,  The 
Wine-Shop,  The  . 

WoLSELEY,  Lord  .... 

Woods’s  Fruit-Shop 
Wool-Carders  .... 

Wych  Street  .... 

166 


Number 

Page 

.  66 

25 

•  73 

28 

•  44 

16 

.  232 

103 

.  92 

33 

•  39 

15 

.  72 

28 

.  48 

18 

•  233 

103 

•  245 

107 

•  441 

142 

7 

4 

•  54 

20 

172 

64 

•  97 

36 

.  150 

55 

.  142 

51 

•  314 

118 

•  313 

118 

.  286 

114 

.  88 

32 

•  390 

130 

.  400 

131 

.  401 

131 

•  329 

120 

•  330 

121 

•  27 

12 

•  370 

126 

.  164 

60 

.  265 

III 

.  221 

100 

•  159 

58 

INDEX 


York  Street,  Westminster 

Number 
.  270 

Page 

112 

Young  Tree,  Gray’s  Inn,  The 

.  296 

116 

Young  Woman,  Standing  .... 

.  132 

47 

Youth  Wearing  a  German  Cap,  A 

5 

4 

Zaandam  ....... 

.  416 

137 

167 


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